REVIEWS

Ferdinand Kriwet’s “KRIWET”

GEORG KARGL FINE ARTS, Vienna

View of Ferdinand Kriwet's "KRIWET," curated by Gregor Jansen, Georg Kargl Fine Arts, Vienna, 2017.
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Kimberly Bradley

Whirlpools of words, sans-serif swirls: language is both subject and material of Ferdinand Kriwet’s exhibition at Georg Kargl Fine Arts, part of this year’s curated by_Vienna.(1) In some of Kriwet’s text-based works, the typographical forms take clear precedence over linguistic sense; in others, the words’ meaning packs the stronger punch. “KRIWET”... continue reading
View of "Dysfunctional Formulas of Love," The Box Gallery, Los Angeles, 2017.
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Jonathan Griffin

If your first associations with Colombia are cocaine, paramilitary violence, and the rapacious plunder of natural resources by neo-colonialist corporations, then you are only half right, according to this spirited, unkempt, and organizationally flawed exhibition of Colombian artists at The Box, Los Angeles. Along with all these clichés (eagerly resold... continue reading
Elaine Cameron-Weir’s “wave form walks the earth”

HANNAH HOFFMAN GALLERY, Los Angeles

View of Elaine Cameron-Weir’s “wave form walks the earth,” Hannah Hoffman, Los Angeles.
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Andrew Berardini

The medieval wardrobe of a sadomasochist, the secret torture chamber gear of a conflicted superhero, grim relics of gods from the deepest abysses of a broken dimension, or, as they truly are, artworks, sparsely hung, dangling from ropes, splayed like bodies, and rippled into curtains of parachute silk, with one... continue reading
Cosey Fanni Tutti

CABINET, London

View of "Cosey Fanni Tutti," Cabinet, London, 2017.
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Lucy Reynolds

Cosey Fanni Tutti’s exhibition at Cabinet Gallery is divided into two parts, a photographic exhibition and a film, which together invite the visitor to negotiate not only questions of morality but also archival memento mori. Upon entering the upper gallery, the viewer confronts frames from Cosey’s 1977 photographic collaborations with... continue reading
View of "When my eyes saw and when my ears heard," Hollybush Gardens, London, 2017.
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Patrick Langley

In her 1974 memoir Handbook in Motion, Simone Forti describes how, when she moved from San Francisco to New York in 1959, the city seemed a “maze of concrete mirrors.”(1) New York didn’t just disorient: it “shocked” her. She took solace from the city’s alienating architecture by rooting herself in... continue reading
Katinka Bock’s “Smog”

MEYER RIEGGER, Berlin

View of Katinka Bock's "Smog," Meyer Riegger, Berlin, 2017.
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Simone Menegoi

Katinka Bock compares works to words and exhibitions to texts.(1) The analogy explains the relationship between the two aspects of the Franco-German artist’s work: the sculptures, silver prints, and occasional films, on the one hand, and the sophisticated displays that she creates out of them, whose value is greater than... continue reading

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ARTIST

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sp-arte
Cardi Black Box
Aperture
The Third Line
Brooklyn Rail
galeria nara roesler
Magazine Mousse
Afterimage
Michael Kon
Deweer
Peres Projects
Carolina Nitsch
e-flux iPad