REVIEWS

View of the first chapter of Guy Mees's “Espace Perdu (Verloren Ruimte)” at ProjecteSD, Barcelona, 2018.
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Helena Tatay

Guy Mees (1935–2003) was a leading figure of the Belgian avant-garde whose enigmatic work combined formal diversity with conceptual rigor. A consecutive pair of exhibitions at Barcelona’s ProjecteSD—the first from March to April, the second from May to June—shed light on his career, offering carefully curated series of works alongside... continue reading
Manifesta 12

MANIFESTA 12, Palermo

Rotor, Da quassù è tutta un’altra cosa [From up here, everything looks different], 2018.
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Barbara Casavecchia

In 2001, Maurizio Cattelan invited a group of the 49th Venice Biennale’s VIP guests to join a satellite event in Palermo: a cocktail reception in Bellolampo, the city’s main landfill, where the artist had installed a larger-than-life replica of the Hollywood Sign overlooking the Conca d’Oro, the defaced coastal “golden... continue reading
Basel Roundup

VARIOUS LOCATIONS, Basel

Bruce Nauman, Model for Trench and Four Buried Passages, 1977.
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Chris Sharp

This Art Basel Roundup comes fresh on the heels of a visit to the opening of the 10th Berlin Biennale. This is significant because, whatever you might say about the current edition, it was conspicuously and refreshingly non-white and non-Western-European centric. As a white-dude viewer, I felt, perhaps for the... continue reading
View of Abigail Reynolds, Lost Libraries at Shoreditch Library, London, 2018.
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Tom Jeffreys

“Many artists consider books and libraries to be oppressive hierarchies of knowledge, dogmatic and hectoring,” writes artist Abigail Reynolds in her new book Lost Libraries. But Reynolds does not agree: “I consider them the gates of freedom.”(1) Three simultaneous exhibitions in east London exemplify this fascination with books and their... continue reading
View of Michael Snow's "Closed Circuit" at Guggenheim Bilbao, 2018.
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Erika Balsom

The four works assembled in Michael Snow’s “Closed Circuit” are not among the artist’s best-known. Visitors expecting the long mechanical arm of De La (1969–72) or the recto-verso double projection of Two Sides to Every Story (1974) will be disappointed. For all the bombast associated with the Guggenheim Bilbao, this... continue reading
Jota Mombaça, The Feel of a Problem, 2017, lecture performance within I’m Not Who You Think I’m Not #1, 2017.
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Patrick J. Reed

During the press conference for the 10th Berlin Biennale, henceforth snappily referred to as “BBX,” the attendees were given the opportunity to contemplate Hakuin Ekaku’s lesser-known koan—“what is the sound of one person’s inappropriately timed clapping?” The lone applauder, whose ruckus died away with all the glory afforded a deflating balloon,... continue reading

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