REVIEWS

Will Benedict’s “The Social Democrat” and “Fiction Is a Terrible Enemy”

GIó MARCONI AND FONDAZIONE GIULIANI, Milan and Rome

View of Will Benedict’s “The Social Democrat,” Giò Marconi, Milan, 2017.
by

Barbara Casavecchia

It was only a couple of days after the opening, while sitting in the audience of a lecture by Italian playwright Romeo Castellucci at Teatro dell’Arte in Milan, that Will Benedict’s “The Social Democrat” at Giò Marconi really clicked in my head. Call it synchronicity. Castellucci delivered his speech, titled... continue reading
The Armory Show and Independent Art Fair

VARIOUS LOCATIONS, New York

View of the Piers 92 and 94, New York.
by

Brian Karl

If the art auction is the ultimate hunger games of ostentatious display for your taste and bank account, the art fair is the auction’s suburban or exurban cousin: the mega shopping mall, where everything is under one roof. Whether or not you went in knowing what you wanted to get... continue reading
“Harvest”

THE COMMERCIAL GALLERY, Sydney

View of “Harvest,” The Commercial Gallery, Sydney, 2017.
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Claudia Arozqueta

The name “The Commercial” is unusually explicit for a gallery, but the title of the group exhibition currently on view in this one-room gallery in Sydney’s Redfern/Chippendale precinct is not to be taken so literally. While “Harvest” brings to mind food, crops, and still lifes, the exhibition also plays with... continue reading
Kader Attia, Reason's Oxymorons, 2015.
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Andrew Stefan Weiner

Despite their enigmatic, aloof character, most of the works in Kader Attia’s current exhibition at Lehmann Maupin are relatively easy to make sense of. Whether in their medium (neoconceptual sculpture), their mode of facture (readymade assemblage), or their topic (cultural hybridization), they exemplify what we now expect of “global contemporary... continue reading
Robin Rhode, Paradise (detail), 
2016.
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Sean O Toole

Berlin-based Robin Rhode’s third solo exhibition with Stevenson is an accomplished recapitulation of ideas and gestures that have featured in his mature practice since leaving South Africa in the mid-2000s. Rhode’s work is grounded in repetition, notably his Eadweard Muybridge-like photo animations, which here include Paradise (2016) and Inverted Cycle... continue reading
Adja Yunkers, A Human Condition, 1966. Acrylic on canvas, mural at Syracuse University.
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Leigh Markopoulos

In the wing mirror on the passenger side of a vehicle, objects are closer than they appear. The texts republished in the Rearview series are those that we wish to draw attention to because they reveal certain “blind spots“ in contemporary art criticism. These “found“ documents (indeed, quasi-artifacts) are... continue reading

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