REVIEWS

View of Iman Issa’s “Reasonable Characters in Familiar Places,” Kunsthalle Lissabon, Lisbon, 2016.
by

Ben Eastham

The inaugural edition of ARCO Lisbon (May 26–29, 2016) was announced to the world on the same day that an anti-austerity alliance in Portugal’s parliament passed a vote to dissolve its center-right government. On the day that journalists came to preview the venue at which the fair would be held,... continue reading
Art Basel Hong Kong

ART BASEL, Hong Kong

Outside Art Basel Hong Kong 2016.
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Aileen Burns and Johan Lundh

The maxim “less is more” hardly springs to mind when thinking about Art Basel Hong Kong. Yet Art Basel’s global director, Marc Spiegler, uttered those very words during the media reception for this year’s edition, arguing for quality over quantity and noting that all three of the franchise’s fairs in... continue reading
View of Ana Mendieta's "Experimental and Interactive Films," Galerie Lelong, New York, 2016.
by

Kim Levin

It is now impossible to speak of Ana Mendieta’s pioneering, ritualized, land-body performance art without referring to the still unsettling manner of her untimely death—fallen, pushed, or thrown from a 34th-story window on Mercer Street, New York. Back in 1988, shortly after her husband Carl Andre was acquitted of Mendieta’s murder,... continue reading
“Marcel Broodthaers: Écriture”

MICHAEL WERNER, New York

Marcel Broodthaers, Dites Partout Que Je L'Ai Dit, 1974.
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Alan Gilbert

It’s only appropriate that visitors to Michael Werner’s current Marcel Broodthaers exhibition would encounter a stuffed parrot as part of the installation Dites Partout Que Je L’Ai Dit (1974). Broodthaers was a master at creatively parroting—both consciously and unconsciously—the tropes, images, and theory that may now seem a bit tame... continue reading
Allison Katz’s “AKA”

GIò MARCONI, Milan

View of Allison Katz, “AKA,” Giò Marconi, Milan, 2016.
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Ilaria Bombelli

“Rats live on no evil star.” And “In a regal age ran I.” There is no apparent truth, no evident foundation, in these two double-sided expressions—same characters, reverse order—whose heads and tails can switch places like a juggler’s pins. Just a tumbling act of letters on the tightrope of some... continue reading
View of Jeanette Mundt, “Heroin: Cape Cod, USA,” Off Vendome, New York, 2016.
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Tess Edmonson

Of the six paintings that make up Jeanette Mundt’s “Heroin: Cape Cod, USA,” three render figures of women at rest. Of these, Jeanette Mundt (all works 2016) is a self-portrait; we see her body contorted into the archetypal pose of the butt selfie: the back side of her body facing... continue reading

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