REVIEWS

Los Angeles Gallery Share

VARIOUS LOCATIONS, Los Angeles

D’Ette Nogle, Wardrobe Selections for Gallery (2013–2018), 2018.
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Jonathan Griffin

At least Condo, in London and New York (and soon also Mexico City and São Paulo), and Okey-Dokey, in Düsseldorf and Cologne, had snappy names and branding. The latest manifestation of the increasingly popular gallery share model, hosted by three Los Angeles galleries, does not have a name. Its program,... continue reading
“Disappearing Legacies: The World as Forest”

CENTRUM FüR NATURKUNDE, Hamburg

View of Revital Cohen and Tuur van Balen, Raggiana, Emperor, and Red, all 2017.
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Stefan Heidenreich

Museums are known today as natural habitats for art. But in Renaissance Europe, before their collections specialized in works of art, museums hosted cabinets of curiosities, with their awkward mixtures of rare and bizarre objects. In the eighteenth century, demand arose across Europe to open museum collections—typically owned by royalty,... continue reading
“The Summer Vocation of a Teenage Bee”

CONTEMPORARY ART CENTER, Vilnius

View of “The Summer Vocation of a Teenage Bee” at Contemporary Art Center, Vilnius, 2018.
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Neringa Cerniauskaite

The lifespan of a bee, with its strict trajectory and tireless labor, is a common metaphor to describe hard work. It’s a figure of speech that functioned well in the industrial economy, where the individual was diminished to a cog in an endless assembly line, working in and for a... continue reading
Installation view, Marvin Gaye Chetwynd, "Ze & Per," 2018.
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Philomena Epps

Marvin Gaye Chetwynd’s practice, with its hubbub of miscellaneous and licentious references, evokes a mood of historic and anthropological ambiguity. Her works enmesh periods of cultural rebellion over the centuries, from medieval history, folk plays, and pagan festivals, to the genesis of Dada, and from the DIY culture of drag... continue reading
Allora & Calzadilla

FUNDACIó ANTONI TàPIES, Barcelona

Allora & Calzadilla,  Stop, Repair, Prepare: Variations on Ode to Joy, No.3, 2008.
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Mariana Canepa Luna

A piercing whistle punctuates the blaring of a trumpet. But in the columned central space of the Fundació Antoni Tàpies, the only visible instrument is a grand piano. For three days a week throughout the course of the exhibition, the instrument is played—and, one could say, worn—by a pianist who... continue reading
View of "The Land We Live In – The Land We Left Behind," Hauser & Wirth Somerset, 2018.
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Tom Jeffreys

To shit on a book—surely only an animal could do such a thing? In a former farm building, now home to Hauser & Wirth Somerset, lies an early edition of a book by Mark Twain: A Yankee at the Court of King Arthur (1889), a satire of medieval European chivalry... continue reading

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ARTIST

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Friedrich Petzel
Hilger
Deweer
Kaleidoscope
e-flux iPad
Aperture
art-agenda
Camera Austria
Tulips & Roses
Gallery Ernst Hilger
X-TRA
Marion
ArtAsiaPacific