In 1973, Hollis Frampton sent a letter of protest to the curator of MoMA who had asked him about the possibility of doing a retrospective of his work, “for love and honor and no money.”(1) The working conditions of artists may not have changed much today, but perhaps there has... continue reading

“La Demeure Joyeuse II” or “The Happy Home II” is the first show in Francesca Pia’s new space in the Löwenbräuareal, Zürich’s hub for contemporary art. It’s no wonder the mood is optimistic, though the title refers not to this specific setting but to an exhibition of the same name... continue reading

It’s hard to pinpoint the moment that FIAC actually started. Extramural events—gallery unveilings, private museum tours, an “immaterial” auction, a magazine launch, a performance on a bateau mouche, and lots and lots of parties—began in earnest on Monday, just one day after Frieze ended, two days before FIAC’s “guest of... continue reading

In 1983, Czech writer Milan Kundera defined Central Europe as those states that historically and culturally belonged to the West, but had been politically assigned to the Eastern Bloc in the geopolitical wrangling of the Cold War. His notable essay “The Stolen West” (1983) accentuated the shared cultural heritage of... continue reading

A friend once complained that contemporary curating is too conceptual. The goal, he said, ought to be the collection of suggestive affinity—this reminds me of this. If the conversation between works is too clear, or too overdetermined by the frame of the show, the energy dissipates, and individual pieces become... continue reading

I actually enjoyed going round the Frieze fair this year, which I think is a first. I’ve always felt like a trespasser taking up valuable booth space, dealers looking over the shoulder of my second-hand cardigan. But with this review to write, I had a legitimate reason to take up... continue reading