REVIEWS

/ Berlin
View of Eva Kot’átková’s “Diary of a stomach,” Meyer Riegger, Berlin, 2017.
by

Ana Ofak

“What have you eaten today?” a metallic voiceover inquires. The reply, uttered by a child, hesitantly, is “nothing.” Yet in the course of the transitory interrogation that unfolds in the middle of Eva Kot’átková’s most recent film Stomach of the world (2017), currently being shown by the Polyeco Contemporary Art Initiative at... continue reading
Gallery Weekend Berlin

VARIOUS LOCATIONS, Berlin

Charlotte Posenenske, Series B Reliefs, 1967-2017.
by

Sofia Lemos

In the wake of the events of May 1968, German Minimalist Charlotte Posenenske wrote in Art International that “it is difficult for me to come to terms with the fact that art can contribute nothing to solving urgent social problems.”(1) Posenenske’s “‘Statement’ [Manifesto],” which initially meant to examine ownership and... continue reading
View of Marcus Steinweg’s “For the Love of Philosphy,” BQ, Berlin, 2017.
by

William Kherbek

Descartes, Deleuze, Lacan, Nancy, Rilke, Weil, Heidegger (!) (just to name a few)—the gang’s all here at Marcus Steinweg’s new show at BQ, whose title, “For the Love of Philosophy,” certainly seems to ring true. “The self is the placeholder and performer of chaos. Descartes already knew this, that is... continue reading
Musa paradisiaca, Patins [Skates], 2016.
by

Ana Teixeira Pinto

When writing the now-famous entry for the word informe (formless) in the surrealist journal Documents, Georges Bataille started by saying that “a dictionary begins when it no longer gives the meanings of words, but their tasks.” “Formless” is a word tasked with declassifying (déclasser), which in French also connotes degrading... continue reading
Spiros Hadjidjanos

FUTURE GALLERY, Berlin

(Foreground) Spiros Hadjidjanos, Network/ed Pillars (Taraxacum Officinale Arrangement), 2016. (Background) Spiros Hadjidjanos, Crowd Simulation Breakdown, 2016.
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Elvia Wilk

Spiros Hadjidjanos’s third solo show at Future Gallery is both technically and conceptually complex—it’s up to the viewer to decide how far down the rabbit hole to go. Yet each work functions on multiple levels, and is rewarding in equal proportion to how much time one dedicates to figuring it... continue reading
Dominique Gonzalez-Foerster, CINEMA (QM.15), 2016.
by

Antje Stahl

I was sent into darkness. I couldn’t see a single thing. There was a fuzzy light right behind the gallery door illuminating press releases laid out on a small table, and a gallery staffer equipped with a small flashlight. But she simply pointed into the dark: “That way.” That way was... continue reading

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Spike
MIA Art Fair
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ArtAsiaPacific
Friedrich Petzel
Sprueth Magers
art-agenda
Carolina Nitsch
Cardi Black Box
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Brooklyn Rail
P420
Xavier Hufkens