REVIEWS

View of Michael Rakowitz’s “The invisible enemy should not exist,” Barbara Wien, Berlin, 2016.
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Ana Teixeira Pinto

The Invisible Enemy Should Not Exist (Aj-ibur-shapu), from which Michael Rakowitz’s exhibition at Barbara Wien in Berlin borrows its name, was how the street which ran through the gate of Ishtar, in ancient Babylon, was known. Built around 575 BC under King Nebuchadnezzar II and dedicated to the goddess Ishtar,... continue reading
Mark Leckey’s “UniAddDumThs”

GAVIN BROWN'S ENTERPRISE, Rome

View of Mark Leckey's "UniAddDumThs," Sant'Andrea De Scaphis, Gavin Brown's enterprise, Rome, 2016.
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Valerio Mannucci

Mark Leckey’s exhibition at Sant’Andrea de Scaphis, the Roman location of Gavin Brown’s enterprise, is the latest iteration of a series running back to the 2013 Hayward Touring show “The Universal Addressability of Dumb Things.” The original display took inspiration from digital images collected on Leckey’s hard drive, physical instantiations... continue reading
John Akomfrah

LISSON GALLERY, New York

John Akomfrah, The Airport, 2016.
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Andrew Stefan Weiner

It is lamentable and somewhat curious that John Akomfrah is just now receiving his first major exhibition in the US. Despite the critical acclaim Akomfrah has received in the UK and Europe, both for his recent solo output and his earlier work with the Black Audio Film Collective, he remains... continue reading
Laida Lertxundi, 025 Sunset Red, 2016.
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Andrew Berardini

I’ve lost all my pride I’ve been to paradise And out the other side. With no one to guide me, Torn apart by a fiery wheel Inside me. –The West Coast Pop Art Experimental Band’s “I won’t hurt you” (1966), heard in Laida Lertxundi’s Vivir para Vivir / Live to Live (2015) In LA, everyone’s Marlon... continue reading
Sam Lewitt, A Weak Local Lexicon (MHTL), 2016.
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Isobel Harbison

I walked straight past the entrance to Pilar Corrias’s gallery. The lights are off and inside it’s dark and quiet. The only work on the ground floor is Sam Lewitt’s A Weak Local Lexicon (MHTL) (2016), an unlit installation which converts the charge from the light source, powered from a... continue reading
View of KwieKulik’s “The Monument Without a Passport,” Žak | Branicka, Berlin, 2016.
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Stefan Heidenreich

Resistance is a two-sided relation. It may also include more players, as we will discuss shortly. But losing its counterpart puts it in a difficult place. All political art has to deal with this dialectic entanglement. In 1976, artists Zofia Kulik and Przemysław Kwiek were summoned to the Polish Ministry of... continue reading

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