REVIEWS

Gerard Byrne’s “In Our Time”

GALERIE NORDENHAKE, Stockholm

View of Gerard Byrne, "In Our Time," at Galerie Nordenhake, 2018.
by

Stefanie Hessler

The year is 1977. Iggy Pop just released “The Passenger,” Eric Clapton mourns his son’s death in the 1990s-hit “Tears in Heaven,” and Ronald Reagan’s nuclear weapons build-up has the world holding its breath. Time is warped in Gerard Byrne’s seamless amalgamation of historical events, rock hits, and news reports... continue reading
View of Charlemagne Palestine’s “CCORNUUOORPHANOSSCCOPIAEEAANORPHANSSHHORN OFFPLENTYYY” at 356 Mission, Los Angeles, 2018.
by

Eli Diner

Marveling over the evolution of his latest exhibition, Charlemagne Palestine remarked: “This idea or obsession that I had with a few animals at the beginning, never did I imagine that it would become such a maximal, enormous work like this. It’s the biggest ever with about 18,000 or more. That... continue reading
Art Basel Hong Kong

ART BASEL, Hong Kong

Art Basel in Hong Kong 2018.
by

Alvin Li

Those of us who willingly attend and return to Art Basel Hong Kong must still see hope in the global convolution of capital. If you don’t, call yourself a pessimist. When this hope is solely financial—which seems to be the case for many galleries—it belies a detached cynicism that ridicules... continue reading
“Women Look at Women”

RICHARD SALTOUN GALLERY, London

View of "Women Look At Women," Richard Saltoun Gallery, London, 2018.
by

Lucy Reynolds

I almost walk past the entrance to “Women Look at Women,” the inaugural exhibition at Richard Saltoun’s new space on London’s New Bond Street, delayed and disorientated by the glossy rows of designer shops and galleries that surround it. Catherine—a friend on a break from the picket line where she,... continue reading
Los Angeles Gallery Share

VARIOUS LOCATIONS, Los Angeles

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

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.
by

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

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Tulips & Roses
Friedrich Petzel
Xavier Hufkens
Anton Kern Gallery
Blum&Poe
Air the paris
Spike
Michael Kon
GALLERIA MASSIMODELUCA
Vitamin creative space
ArtAsiaPacific
e-flux iPad
flashart