REVIEWS

Mai-Thu Perret’s “Zone”

SIMON LEE GALLERY, London

View of Mai-Thu Perret's "The Zone," Simon Lee Gallery, London, 2016-17.
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Jeremy Millar

Sometimes an artwork responds to the world outside; sometimes the world outside responds to an artwork; and sometimes neither knows of the other, yet each is enhanced by it all the same. Such a moment occurred recently when one could march down Piccadilly, in protest with and in the presence... continue reading
View of Sherrie Levine’s “15 White Moonlight Paintings,” Jablonka Galerie, Cologne, 2016.
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Stefan Heidenreich

A church, before being appropriated for something beyond its original purpose, needs to undergo a ritual called “profanation.” The procedure is a sort of reverse engineering of the initial consecration. What once belonged to a god is handed back to human life. “And if ‘to consecrate’ (sacrare) was the term... continue reading
Von Calhau!’s “Rotornariz”

GALERIA PEDRO ALFACINHA, Lisbon

View of Von Calhau!’s “Rotornariz,” Pedro Alfacinha, Lisbon, 2017.
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Sofia Lemos

A nose—the lead character in Nikolai Gogol’s short story “The Nose” from 1836—fashions itself as a decorated civil servant, so esteemed one can hardly question its privileged stature, as such cachet ought to be unquestionably deserved. No two noses are the same, Gogol notes. Some straddle along Nevsky Prospect without... continue reading
Musa paradisiaca, Patins [Skates], 2016.
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Ana Teixeira Pinto

When writing the now-famous entry for the word informe (formless) in the surrealist journal Documents, Georges Bataille started by saying that “a dictionary begins when it no longer gives the meanings of words, but their tasks.” “Formless” is a word tasked with declassifying (déclasser), which in French also connotes degrading... continue reading
Luis Camnitzer’s “Dibujos”

PARRA & ROMERO, Madrid

Luis Camnitzer, El Cuaderno Rayado, 2012/2016.
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Helena Tatay

The first paradox one encounters in Luis Camnitzer’s exhibition at Parra & Romero in Madrid is the apparent contradiction between its title, “Dibujos” [Drawings], and its content, two installations titled El Cuaderno Rayado [The lined notebook] and Dibujos en el Agua [Drawings on water]. Exhibited in separate gallery spaces, each... continue reading
View of Arthur Jafa's "Love Is The Message, The Message Is Death," Gavin Brown's Enterprise, New York, 2016.
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Genevieve Yue

The art world is overstuffed with collages of YouTube clips and Internet artifacts, with most of these trafficking in an ironic glibness that is overly praised either for its affect or lack of it. Though cut from the same digital cloth, the compilation video Love Is The Message, The Message... continue reading

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Deweer
Aperture
Blum&Poe
Brooklyn Rail
The breeder
The Third Line
Carolina Nitsch
P420
Anton Kern Gallery
Luisa Strina
Gallery Ernst Hilger
Hilger
Peres Projects