REVIEWS

View of Fabien Giraud and Raphaël Siboni's "The Everted Capital" at the Museum of Old and New Art, Hobart, Tasmania, 2018.
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Tara McDowell

It’s fitting that “The Everted Capital,” the opening salvo of the second and third seasons of Fabien Giraud and Raphaël Siboni’s sweeping, unwieldy, and often exquisite magnum opus “The Unmanned”—a three-season series of films, sculptures, and performances—debuts at an end of the earth: the Museum of Old and New Art... continue reading
Eileen Myles’s “poems”

BRIDGET DONAHUE, New York

View of Eileen Myles’s “poems” at Bridget Donahue, New York, 2018.
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Alan Gilbert

It’s so easy to ignore what’s directly in front of you when it seems more sullied than that which is imagined to be just beyond a particular moment or place. Digital technologies seek to eradicate this gap by making a better or more convenient life, via an image or purchase,... continue reading
Pierre Huyghe’s “UUmwelt”

SERPENTINE GALLERIES, London

View of Pierre Huyghe’s “UUmwelt” at Serpentine Galleries, London, 2018.
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Flora Katz

Five large, freestanding LED panels fill the spaces of the Serpentine. Despite their technological nature, they look like temporary plaster walls and give the rooms a stripped appearance. Images scroll onscreen at high speed. In the darkened exhibition space, they have peculiar light and colors, cold and clear tones. Sounds... continue reading
Donna Huanca’s “Piedra Quemada”

LOWER BELVEDERE, Vienna

Installation view of Donna Huanca’s “Piedra Quemada” at Lower Belvedere, Vienna, 2018.
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Rose-Anne Gush

Flatness, surface, posture, and the notion of cycles animate Donna Huanca’s “Piedra Quemada” [Scorched Stone]. The exhibition, displayed across Vienna’s Lower Belvedere museum, is a Gesamtkunstwerk consisting of 33 works including paintings, mixed-media sculptures, and live models whose bodies, painted by the artist with bright colors, move slowly throughout the... continue reading
Jean-Marie Appriou’s “November”

GALERIE EVA PRESENHUBER, Zürich

Jean-Marie Appriou, The gear of the suns, 2018.
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Aoife Rosenmeyer

The show is called “November”; I write as the month draws to a close. It’s cold and slightly damp, albeit not enough to offset the long, dry summer and autumn. But the apples sold at the market are still crisp, the Raebeliechtliumzug—an annual walk through the dark, originating in harvest... continue reading
Janet Malcolm, Untitled, 2016.
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Kim Levin

In the wing mirror on the passenger side of a vehicle, objects are closer than they appear. The texts republished in the Rearview series are those that we wish to draw attention to because they reveal certain “blind spots” in contemporary art criticism. These “found” documents (indeed, quasi-artifacts) are prefaced by... continue reading

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The Third Line
Sprueth Magers
Gallery Ernst Hilger
Hilger
Anton Kern Gallery
Art Paris
Luisa Strina
GALLERIA MASSIMODELUCA
The breeder
Art Monthly
Vitamin creative space
Michael Kon
Xavier Hufkens