REVIEWS

“The New Alphabet — Opening Days”

HAUS DER KULTUREN DER WELT, Berlin

Slavs and Tatars, The Three Tongues You Speak in Your Sleep, 2019.
by

Nick Currie

A city with an institution like the Haus der Kulturen der Welt (HKW)—Berlin’s House of World Cultures, a cantilevered cockle shell sitting on the Spree River beside the chancellery buildings that fund it—is a happy city indeed, for it can boast a progressive intellectual hub, a cultural engine spitting with... continue reading
View of Ebony G. Patterson’s “…while the dew is still on the roses…” at Pérez Art Museum Miami, 2018–19.
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Monica Uszerowicz

When C. Austin Miles wrote “In the Garden,”(1) a 1912 gospel hymn that speaks of quiet joy and equally silent pain, he was in a basement, no garden in sight, entranced by a vision of the meeting of Jesus and Mary. “I seemed to be standing at the entrance of... continue reading
Amie Siegel’s “Backstory”

THOMAS DANE GALLERY, London

Amie Siegel, Repose, 2018.
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Filipa Ramos

Continuously reappearing throughout the French version of Jean-Luc Godard’s 1963 film Le Mépris [Contempt], Georges Delerue’s melody Thème de Camille is the epitome of contained tragedy. Composed for a string orchestra, it has a regular, continuous motif traversed by arpeggios in counterpoint. This combination creates an immensely pleasurable (and sad)... continue reading
“World Receivers”

LENBACHHAUS, Munich

View of “World Receivers” with works by Georgiana Houghton at Lenbachhaus, Munich, 2018.
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Amelia Groom

“Solar and logical / decadent and symmetrical / angels are mathematical.” Lyrics from Coil’s song “Fire of the Mind” (2005) come to me while I look at Emma Kunz’s gorgeous large-scale drawings. Kunz was a Swiss healer who began making these works in 1938, when she was 46. She had... continue reading
“Post-Nature—A Museum as an Ecosystem”

TAIPEI BIENNIAL 2018, Taipei

Vivian Suter, Lala Mountain, 2018.
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Tess Edmonson

What will come after what we know to be the twilight years of a livable earth? Though this question is implied in the title of “Post-Nature,” this edition of the Taipei Biennial, curated by Mali Wu and Francesco Manacorda, the exhibition itself offers impressions of natural life in the present,... continue reading
View of Marzia Farhana, Ecocide and the Rise of Free Fall , 2018.
by

Balamohan Shingade

In August 2018, four months before the fourth Kochi-Muziris Biennale opened, Kerala was hit by a catastrophic monsoon. It resulted in the worst flooding in the region for over a century: more than 300 people died and an estimated 220,000 were left homeless. The devastation of the floods brings the... continue reading

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P420
Camera Austria
Friedrich Petzel
flashart
GALLERIA MASSIMODELUCA
Anton Kern Gallery
Kaleidoscope
Art Monthly
Xavier Hufkens
Sprueth Magers
Air the paris
Afterimage
Brooklyn Rail