REVIEWS

/ Stockholm
Gerard Byrne’s “In Our Time”

GALERIE NORDENHAKE, Stockholm

View of Gerard Byrne, "In Our Time," at Galerie Nordenhake, 2018.
by

Stefanie Hessler

The year is 1977. Iggy Pop just released “The Passenger,” Eric Clapton mourns his son’s death in the 1990s-hit “Tears in Heaven,” and Ronald Reagan’s nuclear weapons build-up has the world holding its breath. Time is warped in Gerard Byrne’s seamless amalgamation of historical events, rock hits, and news reports... continue reading
Juan Downey’s “With Energy Beyond These Walls”

RUTIGA GOLVET AT THE ROYAL INSTITUTE OF ART, Stockholm

View of Juan Downey’s “With Energy Beyond These Walls,” Rutiga Golvet, The Royal Institute of Art, Stockholm, 2018.
by

Axel Wieder

Juan Downey (1940–1993) has been recognized as an early pioneer of video art, but like many of his contemporaries, his interest was much broader than a single medium. Initially trained as an architect in Chile, where he was born, he traveled throughout Europe, meeting artists working with kinetics and interaction,... continue reading
Ann Böttcher, Transit Portal (The War Museum/Svinøya, Svolvær, Lofoten, NO), 2013.
by

Tyler Coburn

At one point in his 1960 book, Crowds and Power, Elias Canetti surveys “the symbology of nation states.”  The English, he writes, see themselves as captains surrounded by sea; the Swiss are a single body linked beneath mountain peaks. Germans, in turn, assume symbolic form as an army, which Canetti... continue reading
Eija-Liisa Ahtila, Studies on the Ecology of Drama 1, 2014.
by

Kim West

Human beings are destroying the planet. If we want to save it we must therefore make inhuman art. Arguments to this effect seem to have enjoyed some currency in recent curatorial practice. Alas, Eija-Liisa Ahtila’s accomplished video installation at Galleri Charlotte Lund in Stockholm does not save the world, nor... continue reading
Katarina Löfström

ANDRéHN-SCHIPTJENKO, Stockholm

View of Katarina Löfström, Andréhn-Schiptjenko, Stockholm, 2013.
by

Jacquelyn Davis

In Katarina Löfström’s third solo exhibition at Andréhn-Schiptjenko, one is cajoled by both the comfort of repetition and sensory parameters related to any given reality. Perception, after all, is adaptable and even, at times, restrained. Human beings are able to train themselves to hone attractive skills and master talents through... continue reading

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Michael Kon
Carolina Nitsch
Camera Austria
Anton Kern Gallery
P420
The Third Line
Kaleidoscope
Brooklyn Rail
Magazine Mousse
galeria nara roesler
Air the paris
Spike