REVIEWS

View of Martine Syms's "The Easy Demands," Sadie Coles HQ, London, 2017.
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Morgan Quaintance

What’s to be gained from aestheticizing resistance, from reducing political protest and its violent and repressive fallout to a highly stylized image? This is the final question raised by Martine Syms’s second solo show in London, a tastefully oblique, risk-free display that simultaneously draws on and hollows out the recent... continue reading
Rodney Graham’s “Media Studies”

HAUSER & WIRTH, Zürich

(Left) Rodney Graham, Antiquarian Sleeping in his Shop, 2017. (Right) Rodney Graham, Media Studies ’77 (Meet Me in St. Louis), 2017.
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Aoife Rosenmeyer

Rodney Graham’s large-format light-box tableaux have been a mainstay of his oeuvre since 2006, and are consistently sophisticated and detailed. The artist’s current exhibition at Hauser & Wirth in Zurich includes seven new light-box works that do not disappoint, but, I wondered, why produce these works now? Graham has been active... continue reading
Mai-Thu Perret’s “Zone”

SIMON LEE GALLERY, London

View of Mai-Thu Perret's "The Zone," Simon Lee Gallery, London, 2016-17.
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Jeremy Millar

Sometimes an artwork responds to the world outside; sometimes the world outside responds to an artwork; and sometimes neither knows of the other, yet each is enhanced by it all the same. Such a moment occurred recently when one could march down Piccadilly, in protest with and in the presence... continue reading
View of Sherrie Levine’s “15 White Moonlight Paintings,” Jablonka Galerie, Cologne, 2016.
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Stefan Heidenreich

A church, before being appropriated for something beyond its original purpose, needs to undergo a ritual called “profanation.” The procedure is a sort of reverse engineering of the initial consecration. What once belonged to a god is handed back to human life. “And if ‘to consecrate’ (sacrare) was the term... continue reading
Von Calhau!’s “Rotornariz”

GALERIA PEDRO ALFACINHA, Lisbon

View of Von Calhau!’s “Rotornariz,” Pedro Alfacinha, Lisbon, 2017.
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Sofia Lemos

A nose—the lead character in Nikolai Gogol’s short story “The Nose” from 1836—fashions itself as a decorated civil servant, so esteemed one can hardly question its privileged stature, as such cachet ought to be unquestionably deserved. No two noses are the same, Gogol notes. Some straddle along Nevsky Prospect without... continue reading
Musa paradisiaca, Patins [Skates], 2016.
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Ana Teixeira Pinto

When writing the now-famous entry for the word informe (formless) in the surrealist journal Documents, Georges Bataille started by saying that “a dictionary begins when it no longer gives the meanings of words, but their tasks.” “Formless” is a word tasked with declassifying (déclasser), which in French also connotes degrading... continue reading

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Cardi Black Box
Kaleidoscope
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Brooklyn Rail
Art Monthly
Luisa Strina
Friedrich Petzel
Art Newspaper
The Third Line
Tulips & Roses
Peres Projects
Vitamin creative space
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