REVIEWS

Kader Attia, Reason's Oxymorons, 2015.
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Andrew Stefan Weiner

Despite their enigmatic, aloof character, most of the works in Kader Attia’s current exhibition at Lehmann Maupin are relatively easy to make sense of. Whether in their medium (neoconceptual sculpture), their mode of facture (readymade assemblage), or their topic (cultural hybridization), they exemplify what we now expect of “global contemporary... continue reading
Robin Rhode, Paradise (detail), 
2016.
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Sean O Toole

Berlin-based Robin Rhode’s third solo exhibition with Stevenson is an accomplished recapitulation of ideas and gestures that have featured in his mature practice since leaving South Africa in the mid-2000s. Rhode’s work is grounded in repetition, notably his Eadweard Muybridge-like photo animations, which here include Paradise (2016) and Inverted Cycle... continue reading
Adja Yunkers, A Human Condition, 1966. Acrylic on canvas, mural at Syracuse University.
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Leigh Markopoulos

In the wing mirror on the passenger side of a vehicle, objects are closer than they appear. The texts republished in the Rearview series are those that we wish to draw attention to because they reveal certain “blind spots“ in contemporary art criticism. These “found“ documents (indeed, quasi-artifacts) are... continue reading
View of Terence Koh’s “sleeping in a beam of sunlight,” Moran Bondaroff, Los Angeles, 2017.
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Jonathan Griffin

Over the decade and a half of his career to date, Terence Koh has generated so many myths that it is now nearly impossible to begin thinking about his work without first acknowledging the tales of his personal and professional decadence in New York during the pre-crash mid-aughts, or the... continue reading
“Where do we go from here?”

NIEUW AMSTERDAMS PEIL, Amsterdam

Cristina Lucas, Surplus Value, 2014.
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Vivian Ziherl

As 2017 opens there is a sense that all bets are off—that it is time to roll the dice and keep a hand open to all possibilities. Perhaps this is all the more so in the Netherlands—in many ways the closest of the EU countries to Britain and perhaps facing... continue reading
View of Marcus Steinweg’s “For the Love of Philosphy,” BQ, Berlin, 2017.
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William Kherbek

Descartes, Deleuze, Lacan, Nancy, Rilke, Weil, Heidegger (!) (just to name a few)—the gang’s all here at Marcus Steinweg’s new show at BQ, whose title, “For the Love of Philosophy,” certainly seems to ring true. “The self is the placeholder and performer of chaos. Descartes already knew this, that is... continue reading

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Blum&Poe
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Anton Kern Gallery
Art Newspaper
Michael Kon
Kaleidoscope
sp-arte
Spike
Sprueth Magers
The breeder
Vitamin creative space
Xavier Hufkens
Cardi Black Box