REVIEWS

Liverpool Biennial

VARIOUS LOCATIONS, Liverpool

Betty Woodman, The Summer House, 2015.
by

Jeremy Millar

Things happen, and then they happen again, but not the same way, not quite; such is the logic of the biennial. And then there are things which have never happened before, and which happen now and in a time that seems somehow out of time, or takes our “now” out... continue reading
View of Rosalind Nashashibi’s “Two Tribes,” Murray Guy, New York, 2016.
by

Rachael Rakes

Ever-regenerating discussions in mainstream documentary discourse pit form in opposition to function. It is still commonly understood that utility and representable actuality risk becoming diluted or confused by formal invention or experimentation with narrative structure. This reasoning foregrounds a perpetuating valuation in the inherent power of the documentary as a... continue reading
Michael Stevenson’s “Signs & Wonders”

CARL FREEDMAN GALLERY, London

View of Michael Stevenson, "Signs & Wonders," Carl Freedman Gallery, London, 2016.
by

Pedro Neves Marques

There is a subplot in Harmony Korine’s movie Mister Lonely (2007) that would make a fitting companion to Michael Stevenson’s exhibition “Signs & Wonders.” It tells the story of a nun who survives her fall from a missionary aid plane flying over the forests of Panama. The miracle inspires her... continue reading
Sadie Benning’s “Green God”

CALLICOON FINE ARTS/MARY BOONE GALLERY, New York

(Left) Sadie Benning, Airplane Painting, 2015. (Right) Sadie Benning, Green God, 2015.
by

Alan Gilbert

The internet and its social media spawn have made modes of communication increasingly seamless, with displays of personhood now embedded in a post or link. And while the democratic polyphony of voices has perhaps never been greater, so too is its expression through corporate-owned technologies. Ever since Sadie Benning was... continue reading
View of Lea Porsager, “E(AR)THERIC SLIME ~ PRE-OP,” Nils Stærk, Copenhagen, 2016
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Milena Hoegsberg

Lea Porsager’s solo show at Nils Stærk pulls viewers into a universe “packed with astonishing unheard-of facts, helix patterns and fermionic seeds” through the eyes of #ET. In #ET (all works 2016), a text authored by the artist, Porsager’s extraterrestrial alter ego of sorts takes viewers at full speed through... continue reading
Loop Barcelona

VARIOUS LOCATIONS, Barcelona

Antoni Miralda, The Last Carnival Cruise, 1980-2016.
by

Lucy Reynolds

Barcelona’s Loop art fair, which started in 2003, is the oldest and most established initiative to assert the commercial potential of film and video. The medium’s ephemeral nature, and its associations with the very different market values of cinema, have contributed to a continued reluctance from collectors, attracted by the... continue reading

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Sprueth Magers
Brooklyn Rail
Xavier Hufkens
art-agenda
Spike
P420
e-flux iPad
X-TRA
Vitamin creative space
Kaleidoscope
Tulips & Roses
Luisa Strina
ArtAsiaPacific