REVIEWS

View of Dineo Seshee Bopape's "〰️ [when spirituality was a baby]" at Collective, Edinburgh, 2018.
by

Tom Jeffreys

At once named and unnamable, Dineo Seshee Bopape’s installation 〰️ gathers myriad references (astrology, classical sculpture, Afrodiasporic spiritual practices, the Anthropocene) and materials (soil and rocks, satin and spices, glass and plastic, charcoal, jute, feathers, clay). It weaves them together thrillingly, with gold wire, cotton thread, and lines scraped into... continue reading
Tensta konsthall, Stockholm, December 2018.
by

James Voorhies

On a late November Saturday morning in Tensta, a suburb 10 miles northwest of downtown Stockholm, a double-decker bus idled in the plaza of a shopping mall. People stood around drinking coffee and chatting. A woman wearing glasses and a hijab informed them in Arabic to board because the bus... continue reading
“The Broken Shell of the Hermit Crab”

GALERIA VERA CORTêS, Lisbon

View of "The Broken Shell of the Hermit Crab" at Galeria Vera Cortês, Lisbon, 2019.
by

Bruno Marchand

Seclusion, misanthropy, and asceticism came to my mind when I first saw the title of curator Samuel Leuenberger’s group show at Galeria Vera Cortês, featuring the work of four international artists. Contrary to my initial belief, however, the hermit crab does not get its name from being a loner but... continue reading
Amal Kenawy’s “Frozen Memory”

BAIT AL SERKAL, Sharjah

View of Amal Kenawy’s “Frozen Memory” at Bait Al Serkal, Sharjah, 2018.
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Ania Szremski

By the time I knew her in 2009, before her death in 2012, at only 37, Amal Kenawy seemed to gleam with elite art world prestige, the kind that one assumes would protect against forgetting. The Egyptian artist’s darkly eerie, fungible, genre-defying productions were shown in major exhibitions and biennials... continue reading
“Te toca a tí”

ESPAI D’ART CONTEMPORANI DE CASTELLó, Castelló

Teresa Lanceta, selection of tapestries ([Left] Mayo, [Middle] Don Felipe, [Right]256), 2003.
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Mariana Canepa Luna

Two pairs of hands play a game of cat’s cradle, forming a star from a loop of string; viewers may imagine one person pulling the string while the other interprets their instructions. This photograph, which appears on the cover of the booklet accompanying the group exhibition “Te toca a tí”... continue reading
View of Joana Escoval’s “The word for world” at Grey Noise, Dubai, 2018–19.
by

Jennifer Piejko

The Minimalism nurtured in SoHo and Marfa produced industrial cubes, steel beams, and gleaming planes until it was fortified and impenetrable, refracting metaphor or intimacy. Exposing rather than building up, its economical materiality favored the truly elemental, ruling out the human, or even the organic, as frill. So what to... continue reading

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