REVIEWS

The 6th Athens Biennale: “ANTI”

VARIOUS LOCATIONS, Athens

The Peng! Collective, Civil Financial Regulation Office, 2018.
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Kimberly Bradley

It was strange to visit the sixth edition of the Athens Biennale weeks after its kick-off and at times nearly alone. Writers covering megaexhibitions usually move in herds, but this time there was no press conference to provide me with pithy quotes to explain the title, “ANTI,” and no... continue reading
lauren woods’s “American MONUMENT”

UNIVERSITY ART MUSEUM AT CALIFORNIA STATE UNIVERSITY, Long Beach

View of lauren woods’s “paused” “American MONUMENT” at the University Art Museum, California State University, Long Beach, 2018.
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Travis Diehl

As of this writing in mid-November, “American MONUMENT” by lauren woods has been “paused” (not withdrawn) by the artist. It is a gesture meant to protest the firing of Kimberli Meyer, director of the University Art Museum at California State University in Long Beach and an instrumental collaborator in woods’s... continue reading
Fernando Sánchez Castillo, Swing, 2018.
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Tianyuan Deng

While exhibitions that question the modernist promise of progress are hardly new, a biennale that takes stock of the current state of regress raises high hopes. Historical regression is proceeding on several fronts. One is the collapse of the neoliberal faith in the end-of-history narrative—that liberal democracy and free trade... continue reading
Installation view of Lawrence Abu Hamdan, Earwitness Inventory, 2018.
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Jeremy Millar

Lawrence Abu Hamdan’s latest project emerged from his involvement with an extensive—and emotionally harrowing—2016 investigation by Forensic Architecture into Saydnaya Prison in Syria, commissioned by Amnesty International. (The investigation was presented in Forensic Architecture’s exhibition at London’s Institute of Contemporary Arts earlier this year, for which they were nominated for... continue reading
Installation view of "A Tale of Mother's Bones: Grace Pailthorpe, Reuben Mednikoff and the Birth of Psychorealism" at De La Warr Pavillion, Bexhill-on-Sea, 2018.
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Philomena Epps

At the 1936 International Surrealist Exhibition in London, André Breton referred to a series of paintings by then-obscure artists Grace Pailthorpe and Reuben Mednikoff as being the “best and most truly Surrealist” of all the English contributions. Pailthorpe, a surgeon and trained psychoanalyst, and Mednikoff, an artist 23 years her... continue reading
Andreas Angelidakis, Demos Bar, 2018.
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Barbara Casavecchia

The press schedule for the opening days of the Biennale de l’Image en Mouvement (BIM) included a special visit to CERN’s “Antimatter Factory.” Our guide was a cheerful Chinese-American engineer who laughed at my astonishment when he explained that our knowledge of the universe—stars, planets, galaxies—amounts to its visible 4... continue reading

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