REVIEWS

/ Munich
Exhibition view of Alexandre Estrela + João Maria Gusmão and Pedro Paiva's "Lua Cão" at Kunstverein München, 2018.
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Patrick J. Reed

Watching João Maria Gusmão and Pedro Paiva’s Cowfish (2001) is harrowing. The poor fool struggles on a plate and then pukes a little water before going still. Any viewer would assume the film’s subject—a cowfish—dies, but in the end its survival remains unclear. Death is withheld by a flicker and... continue reading
Manfred Pernice, briefkastenOrion (verlorener posten), 2015.
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Jenny Nachtigall

The protagonist of Fanny von Reventlow’s novel The Money Complex (1916) suffers from a pathological lack of cash. She is afflicted with a grave sickness of fetishism: money is a being with “whom” she had a very painful relationship that failed dramatically—hence her ailment and impoverishment. In the present times... continue reading
View of “it’s just a way to stay alive / Zukunftswahn,” Deborah Schamoni Galerie, Munich, 2013.
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Kerstin Stakemeier

Munich is a place for long shots. It lacks Berlin’s elegantly wasted charm and it is not an international youth hostel of art. Quite on the contrary, for emerging artists or for young galleries Munich is a rough patch with its incredibly high rents and living expenses. But its haute... continue reading

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