REVIEWS

View of Eva Kot’átková’s “Diary of a stomach,” Meyer Riegger, Berlin, 2017.
by

Ana Ofak

“What have you eaten today?” a metallic voiceover inquires. The reply, uttered by a child, hesitantly, is “nothing.” Yet in the course of the transitory interrogation that unfolds in the middle of Eva Kot’átková’s most recent film Stomach of the world (2017), currently being shown by the Polyeco Contemporary Art Initiative at... continue reading
New York City Roundup

VARIOUS LOCATIONS, New York

Robert Longo, Untitled (Raft at Sea), 2016–2017.
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Orit Gat

As I missed out on international art events this season because New York is so far away, all I could think of was how unlucky their curators are. You work on Venice or Documenta for a year or two or four. You start out researching when there’s a somewhat liberal... continue reading
View of Edgardo Antonio Vigo’s “Un Arte A Realizar [An Art In Becoming],” Richard Saltoun Gallery, London, 2017.
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Gustavo Grandal Montero

“Un Arte A Realizar [An Art In Becoming]” is the first solo exhibition in the UK dedicated to the Argentinian artist Edgardo Antonio Vigo, who died in 1997. Relatively unknown in Europe, his name has until recently been associated with mail art, that most underrated of avant-garde movements. The exhibition... continue reading
Maria Taniguchi

TAKA ISHII GALLERY, Tokyo

View of Maria Taniguchi, Taka Ishii Gallery, Tokyo, 2017.
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Cameron Allan McKean

Earth-stuff goes through myriad transformations on its path to usefulness in our world. Soil, stone, water, oil, plants, animals, and the rest all pass through processes of cleaning, smoothing, separating, reconstituting. And at the end of that violence is an exquisite, terrifying flatness: one that expresses itself through identical buildings,... continue reading
View of Christina Mackie's "Drift Rust," Herald Street, London, 2017.
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Patrick Langley

Christina Mackie’s installations have an instinctive and provisional feel about them. They present the viewer with arrays of disparate objects, arranged on trestle tables, walls, and shelves, assembled according to a spontaneous logic of correspondence and juxtaposition. Mackie refers to this aspect of her work as “trestle art.”(1) Wolfgang Tillmans’... continue reading
57th Venice Biennale “Viva Arte Viva”

57TH VENICE BIENNALE, Venice

Rasheed Araeen, Zero to Infinity in Venice, 2016-17.
by

Kevin McGarry

There was widespread suspicion about “Viva Arte Viva” even before Christine Macel’s 57th Venice Biennale opened last week. This year’s edition fell short of gender parity with almost two-thirds of the participants male, fomenting heated critiques on social media upon release of the artist list. Racial metrics were worse; case... continue reading

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