REVIEWS

/ MIHNEA MIRCAN
Haseeb Ahmed’s “Wird”

HARLAN LEVEY PROJECTS, Brussels

View of Haseeb Ahmed's "Wird," Harlan Levey Projects, Brussels, 2016.
by

Mihnea Mircan

The inauguration of the European Parliament building in Brussels was marred by a defect of architectural planning: visitors approaching it were blown over by currents of air inexpertly funneled around the construction. One imagines stacks of European bureaucracy sent into elegant airborne swirls by the gusts of wind. The front... continue reading
View of “Listen to the Stones, Think Like a Mountain,” Galerie Tatjana Pieters, Ghent, 2015.
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Mihnea Mircan

Stones have been “in” for quite some time: in recent years the “artist as archaeologist” has been rubbing shoulders—and comparing excavation gear—with the artist as geologist or speleologist, figures who have thus far received less scrutiny. Curated by Evelien Bracke, “Listen to the Stones, Think Like a Mountain” borrows the two... continue reading
David Panos’s “The Dark Pool”

ALBERT BARONIAN GALLERY, Brussels

David Panos, Aspic Ratio I, 2014.
by

Mihnea Mircan

A “dark pool” is a form of high-speed trading whose machinations take place outside the reach, and modicum of control, of regular markets. But rather than indict a hypertensive and extra-judicial financial system, David Panos’s “The Dark Pool” is concerned with a different set of transactions, binding labor and the... continue reading

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