REVIEWS

/ ANA OFAK
View of Eva Kot’átková’s “Diary of a stomach,” Meyer Riegger, Berlin, 2017.
by

Ana Ofak

“What have you eaten today?” a metallic voiceover inquires. The reply, uttered by a child, hesitantly, is “nothing.” Yet in the course of the transitory interrogation that unfolds in the middle of Eva Kot’átková’s most recent film Stomach of the world (2017), currently being shown by the Polyeco Contemporary Art Initiative at... continue reading
View of Slavs and Tatars, “Dschinn and Dschuice,” Kraupa-Tuskany Zeidler, Berlin, 2015.
by

Ana Ofak

On the occasion of their nomination for the Preis der Nationalgalerie in 2015, Slavs and Tatars’ work can presently be viewed at two locations in Berlin. One is the Hamburger Bahnhof, the institution hosting the prize. There, books by the art collective are offered up for viewing in what looks... continue reading
View of “The Word Today Serves No One Except To Say To The Grocer Give Me A Pound Of Lentils,” Supportico Lopez, Berlin, 2014.
by

Ana Ofak

Los Angeles has long been pursuing the economies of pink, but it has been pursuing a phantom. Pink is a non-existent wavelength of light. We cannot perceive it, but literally imagine it. Its features disclose themselves in every BPA-free bottle of pink coconut water, in Lindsay Lohan’s strawberry blonde tresses... continue reading
Geta Brătescu’s “Atelier Continuu”

GALERIE BARBARA WEISS, Berlin

Geta Brătescu, Typography, 1974.
by

Ana Ofak

Benno von Archimboldi—the mythical writer in Roberto Bolaño’s 2004 novel 2666—used to draw algae as a child. The meticulousness with which the boy captured the greenish pulp he encountered on his prohibited dives in muddy waters extended into his writing as a grown man. None of this is known to... continue reading

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The breeder
art-agenda
Spike
Luisa Strina
Cardi Black Box
Xavier Hufkens
GALLERIA MASSIMODELUCA
flashart
Kaleidoscope
Blum&Poe
Tulips & Roses
Aperture
sp-arte