REVIEWS

/ Sprüth Magers
Hanne Darboven

SPRüTH MAGERS, Los Angeles

Hanne Darboven, Erdkunde I, II, III (Geography I, II, III), 1986.
by

Jonathan Griffin

Rows of numbers instill in me a sickening panic. I got that feeling, familiar from childhood mathematics lessons and annual tax returns, in Hanne Darboven’s current exhibition at Sprüth Magers, Los Angeles. Perhaps there was no need for such histrionics. In 1973, the West German Darboven told the writer Lucy Lippard... continue reading
Alexandre Singh’s “The Humans”

SPRüTH MAGERS, London

Alexandre Singh, The Humans, 2013.
by

JJ Charlesworth

Alexandre Singh’s spectacular, ambitious project The Humans (2013) is not the easiest artwork to discuss. A three-hour, three-act play with music-and-dance numbers, The Humans presents the audience with a wildly absurd remix of an origins-of-man narrative, borrowing and stealing from the Bible, the classics, Shakespeare, and other references too numerous... continue reading
View of Thea Djordjadze, "Spoons Are Different," Sprüth Magers, London, 2012.
by

Laura McLean-Ferris

Come inside and I will draw the curtains—shut out the streets and the harsh brightness of day in favor of dim bluish light. And we will find ourselves in a small beautifully proportioned room. You will immediately understand that this is a private space—an environment meant for one person or... continue reading
View of, "The Art of Narration Changes with Time”, Sprüth Magers, Berlin, 2011.
by

Ana Teixeira Pinto

The end of the 20th century witnessed an explosion of interest in narrative practices. Often referred to as “the narrative turn,” this new field of inquiry originated in French structuralism’s general approach to language, and more explicitly from Tzvetan Todorov’s passion for what he termed “a science of narrative,” la... continue reading

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galeria nara roesler
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