REVIEWS

View of John Gerrard's "X. laevis (Spacelab)," Simon Preston Gallery, New York.
by

Laura McLean-Ferris

Where is the bright line between life and the simulation of life? And what then are the criteria for assessing aliveness? These questions are forever reconstituted and assessed anew at life’s fringes—around automata, the dead, artificial intelligence. 2017’s prestige AI television series Westworld is only the most recent thinking-through of... continue reading
“Ways of the Hand”

MAISTERRAVALBUENA, Lisbon

View of “Ways of the Hand,” Maisterravalbuena, Lisbon, 2017.
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Sofia Lemos

When lost for words, hands are tools to point, wave, and otherwise indicate meaning. While much of this form of communication is intuitive, firsthand knowledge is highly performative: as hands trace airborne paths, their gestures form recognizable patterns that may relay receptiveness or fear, in a cognizant yet affective process... continue reading
Art Basel

ART BASEL, Basel

Claudia Comte, Now I Won (detail), 2017.
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Daniel Horn

The air was hot and filled with din. Art Basel 2017 opened on Tuesday as a more laid-back affair than the previous two editions, but the overall mood was nonetheless upbeat. And how could it not be, given the breathtakingly vulgar fun-fair installation Now I Won (2017) by Swiss artist... continue reading
Skulptur Projekte Münster

VARIOUS LOCATIONS, Münster

Ei Arakawa, Harsh Citation, Harsh Pastoral, Harsh Münster, 2017, Meadow in front of Haus Kump.
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Tobi Maier

Now half a century old, the decennial public art exhibition Skulptur Projekte Münster has unquestionably grown up. The first exhibition featured only male artists while now almost half of the participants are women; a retrospective exhibition of Michael Asher’s photography at Skulptur Projekte Münster—the artist participated in every edition from... continue reading
Documenta 14

NATURKUNDEMUSEUM IM OTTONEUM / GLORIA-KINO / NEUE GALERIE / NEUE NEUE GALERIE / NORDSTADTPARK, Kassel

Marta Minujín, The Parthenon of Books, 2017.
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Anders Kreuger

“We all act as if we have no choice but to consume more and more” This quote, from Mongolian artist Ariuntugs Tserenpil, serves as the first of three titles for these reflections on Documenta 14 in Kassel.(1) Its label of “the world’s most important exhibition” must still carry some weight. Otherwise,... continue reading
View of Brian Bress’s “In Lieu of Flowers Send Memes,” Cherry and Martin, Los Angeles, 2017.
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Andrew Berardini

Here’s the latest Spring menswear line worn by the hottest male models of the twenty-eighth century, those jaunty scions of cyborg overlords. Our wetwear bodies found a hardware durability after we and our machines, long flirting, finally coupled. Moodily lit with mint and hot pink, humanoid bods sport flight jackets... continue reading

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MIA Art Fair
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