REVIEWS

Daisuke Kosugi, Good Name (Bad Phrase), 2017.
by

Orit Gat

You put on headphones and wander across a football field at the end of the world. There are instructions: “Go to the corner of the field, or if there is someone there, stand at the goal line at a place where you can see the entire pitch.” From an iPod... continue reading
Godfried Donkor, The First Day of the Yam Custom, 1817 (detail), 2017.
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Tessa Jackson

Copying and re-using others’ images or artworks always generates considerable debate. Just like solving a crime, it becomes necessary to establish a motive. Almost 200 years separate Thomas Bowdich’s original colored aquatint The First Day of the Yam Custom (1818) from Godfried Donkor’s large replica, which takes the same name... continue reading
Vava Dudu’s “Vertige profonde”

SALON DU SALON, Marseille

View of Vava Dudu's "Vertige Profonde," Salon du Salon, Marseille, 2017.
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Natasha Marie Llorens

Vava Dudu’s “Vertige Profonde” at Marseille’s Salon du Salon is visually balanced to the point of stillness. The solo show occupies two adjoining rooms on the third floor of a spacious old bourgeois apartment on l’Avenue du Prado, a wide boulevard radiating out of the city center towards the south... continue reading
“the silences between”

GOODMAN GALLERY, Cape Town

View of "the silences between," Goodman Gallery, Cape Town, 2017.
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Sean O Toole

The flourishing of South Africa’s commercial galleries over the last two decades has coincided with the atrophying of infrastructure, collections, and curatorial programs at the country’s major public museums. State neglect, hobbled budgets, and poor leadership at the South African National Gallery in Cape Town, as well as important municipal... continue reading
Latifa Echakhch, Crowd Fade, 2017.
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Joerg Heiser and Ben Eastham

Double Take is a feature of art-agenda in which two authors review the same exhibition. Written independently, the two texts share the same images and are published below. —by Jörg Heiser Given the current political situation in Turkey, I wouldn’t have been surprised if the curators of this year’s Istanbul Biennial, Berlin-based... continue reading
View of Nagel Draxler, Berlin, at Art Berlin 2017.
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Stefan Kobel

Can the German art market support four art fairs? The battle over market share is in full swing. Art Karlsruhe is a bit out of the game. Although it seems like a major event with more than 200 exhibitors, it can only cater to the country’s southwestern local audience due... continue reading

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P420
Anton Kern Gallery
sp-arte
X-TRA
Magazine Mousse
e-flux iPad
Carolina Nitsch
The breeder
Camera Austria
galeria nara roesler
Xavier Hufkens
Vitamin creative space
Brooklyn Rail