REVIEWS

Public Art Munich “Game Changers”

VARIOUS LOCATIONS, Munich

Michaela Melián, Music from a Frontier Town, 2018.
by

Orit Gat

Curator Joanna Warsza titled the 2018 edition of Public Art Munich (PAM) “Game Changers,” choosing to focus the festival on 20 live events, shifting the definition of public from sites to subjects. In lieu of outdoor sculptures there are events, and in place of a map a schedule. Conceptualizing the... continue reading
View of “Metamorphoses – Let Everything Happen to You” at Castello di Rivoli, Turin, 2018.
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Adam Kleinman

Long before we, as a species, were categorized as Homo sapiens, Plato proclaimed humans to be “featherless bipeds.” As a retort, Diogenes grabbed a chicken, plucked it, raised it aloft, and sarcastically declared “Behold: Plato’s man!” Not be outdone, Plato added “with flat nails” to his description. Aristotle later weighed... continue reading
View of the first chapter of Guy Mees's “Espace Perdu (Verloren Ruimte)” at ProjecteSD, Barcelona, 2018.
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Helena Tatay

Guy Mees (1935–2003) was a leading figure of the Belgian avant-garde whose enigmatic work combined formal diversity with conceptual rigor. A consecutive pair of exhibitions at Barcelona’s ProjecteSD—the first from March to April, the second from May to June—shed light on his career, offering carefully curated series of works alongside... continue reading
Manifesta 12

MANIFESTA 12, Palermo

Rotor, Da quassù è tutta un’altra cosa [From up here, everything looks different], 2018.
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Barbara Casavecchia

In 2001, Maurizio Cattelan invited a group of the 49th Venice Biennale’s VIP guests to join a satellite event in Palermo: a cocktail reception in Bellolampo, the city’s main landfill, where the artist had installed a larger-than-life replica of the Hollywood Sign overlooking the Conca d’Oro, the defaced coastal “golden... continue reading
Basel Roundup

VARIOUS LOCATIONS, Basel

Bruce Nauman, Model for Trench and Four Buried Passages, 1977.
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Chris Sharp

This Art Basel Roundup comes fresh on the heels of a visit to the opening of the 10th Berlin Biennale. This is significant because, whatever you might say about the current edition, it was conspicuously and refreshingly non-white and non-Western-European centric. As a white-dude viewer, I felt, perhaps for the... continue reading
View of Abigail Reynolds, Lost Libraries at Shoreditch Library, London, 2018.
by

Tom Jeffreys

“Many artists consider books and libraries to be oppressive hierarchies of knowledge, dogmatic and hectoring,” writes artist Abigail Reynolds in her new book Lost Libraries. But Reynolds does not agree: “I consider them the gates of freedom.”(1) Three simultaneous exhibitions in east London exemplify this fascination with books and their... continue reading

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