REVIEWS

“Images”

FRIDERICIANUM, Kassel

Pierre Huyghe, I Do Not Own Snow White, 2005.
by

Antje Stahl

Annlee quietly welcomes you to the Fridericianum’s ticket counter. Though she is still invisible, her voice embraces those standing in the great entrance hall of the museum. “Can you imagine me?” she asks melancholically, “I can imagine you… It’s easy. I can see you. And I can see her.” Her... continue reading
Kemang Wa Lehulere, Teeth are the only bones that show, 2016.
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Aoife Rosenmeyer

In her catalogue introduction, Koyo Kouoh calls Ireland “the first and foremost colonial laboratory of the British enterprise.” It’s a striking statement from the curator of EVA International biennial in Limerick. Titling the biennial “Still (the) Barbarians,” Kouoh uses it as a platform to consider how the legacies of colonialism... continue reading
View of Liu Ding’s “Li Jianguo Born in 1952,” Antenna Space, Shanghai, 2016.
by

Heidi Ballet

Some twenty years after the founding of the People’s Republic of China a proposal was made to change the traffic rules so that cars would stop at green lights and go at red, because red was the designated color of action. In the same spirit, citizens named their children after... continue reading
View of Rosa Barba's "Thoughts of Sorts," Parra & Romero, Madrid, 2016.
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Helena Tatay

Everything is in motion in the main room of Rosa Barba’s exhibition at Parra & Romero, Madrid. The mechanical buzz of film projectors is broken by the tack-tack of a slowed-down typewriter and the purr of an engine that rhythmically bursts out. Dimly illuminated by their own light, four mobile... continue reading
Mark Dion, The Library for the Birds of New York, 2016.
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Thyrza Nichols Goodeve

While Charles Baudelaire’s definition of “the ephemeral, the fugitive, and the contingent” is a familiar truism of contemporary understandings of “the modern,” Baudelaire’s casual, even offhand 1863 observation, “nature, being none other than the voice of our own self-interest,” is less well known. Yet if one were to draw a... continue reading
Glasgow International

MULTIPLE VENUES, Glasgow

View of Tamara Henderson's "Seasons End," Mitchell Library.
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Kirsty Bell

That only 6 of the 75 locations numbered on Glasgow International’s essential city map are host to the “Director’s Programme” says something of the generous weave of the “official” and the “collateral” here, doing away with the two-tiered hierarchies usual in such events. Instead, a loose net is cast around... continue reading

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Brooklyn Rail
Xavier Hufkens
Carolina Nitsch
The breeder
Kaleidoscope
Vitamin creative space
Sprueth Magers
Peres Projects
Anton Kern Gallery
The Third Line
art-agenda
Afterimage
e-flux iPad