REVIEWS

/ SABRINA TARASOFF
Exterior view of FIAC at the Grand Palais, Paris, 2016.
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Sabrina Tarasoff

Adam Curtis’s new film HyperNormalisation (2016) is about the diffusion of power through the manipulation of the media. It posits that politicians adopted the basic tenets of techno-utopianism to create an oversimplified worldview of a global economic and political landscape which had become overwhelmingly complex. The creation of mass-mediated, caricatured villains,... continue reading
Seth Price’s “Wrok Fmaily Freidns”

356 S. MISSION RD., Los Angeles

View of Seth Price, “Wrok Fmaily Freidns,” 356 S. Mission Rd., Los Angeles, 2016.
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Sabrina Tarasoff

To cut to the chase: Seth Price banks on banality. Bides his time building constructs, rather than content; repeating forms overblown by rhetoric. Most famously, his oft-cited essay “Dispersion” (2002) has served as justification for the material choices made in his career, quoting—nay, preaching—redistribution of existing materials as alternative currency... continue reading
Untitled

GOTON & ÉDOUARD MONTASSUT, Paris

View of Goton and Édouard Montassut, 2015.
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Sabrina Tarasoff

Madame Bovary losing silver, aluminum objects at sea. Madame Bovary losing an aluminum tampax at sea. Madame Bovary losing a Victorian doll at sea. Madame Bovary making pickles, painting bats, breaking porcelain. Madame Bovary posing as Salo, sitting in a Breuer chair, stitching pearls into her skin. Madame Bovary, in... continue reading
View of “All the World's Futures,” Giardini, 56th Venice Biennale, 2015.
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Sabrina Tarasoff

When Kenya announced the artist list for their pavilion for this year’s Venice Biennale, forefronted for the second time in a row by Italian hotelier Armando Tanzini, alongside an astounding nine foreign participants and only one Kenyan, the only appropriate response—as far as I was concerned—would have been something akin... continue reading
View of “The Shell (Landscapes, Portraits & Shapes), a show by Éric Troncy,” Almine Rech, Paris, 2015.
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Sabrina Tarasoff

In 1991, in response to critiques of his exhibition “No Man’s Time” at Villa Arson in Nice, curator Éric Troncy wrote a letter to the editors of Flash Art, in which he argued that the exhibition had been “based on no particular concept,” thus locating it outside of any theoretical... continue reading
FIAC

FIAC, Paris

View of FIAC, Paris, 2014.
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Sabrina Tarasoff

“Is there sexual innuendo in the artworld?”(1) Cady Noland, in response to this question posed by John Waters and Bruce Hainley in Art: A Sex Book (2003), answered with a very prompt: “Yes. ‘Euphemisms.’” According to the infamous artworld absentee, artists and dealers are screwed, and often engaged in “one... continue reading

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