REVIEWS

Latifa Echakhch, Crowd Fade, 2017.
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Joerg Heiser and Ben Eastham

Double Take is a feature of art-agenda in which two authors review the same exhibition. Written independently, the two texts share the same images and are published below. —by Jörg Heiser Given the current political situation in Turkey, I wouldn’t have been surprised if the curators of this year’s Istanbul Biennial, Berlin-based... continue reading
View of Nagel Draxler, Berlin, at Art Berlin 2017.
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Stefan Kobel

Can the German art market support four art fairs? The battle over market share is in full swing. Art Karlsruhe is a bit out of the game. Although it seems like a major event with more than 200 exhibitors, it can only cater to the country’s southwestern local audience due... continue reading
“The Space of Dreams”

GALERIA MAYORAL, Barcelona

View of “The Space of Dreams,” Galería Mayoral, Barcelona, 2017.
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Ingo Niermann

Earlier this summer, after a public talk between Elena Sorokina and my wife, Chus Martínez, the three of us were invited by Eduard Mayoral of Galeria Mayoral to dinner. We hadn’t yet reached dessert when Eduard asked us what to make of Salvador Dalí. They were about to open a... continue reading
Nancy Holt’s “Holes of Light”

PARRA & ROMERO, Ibiza

View of Nancy Holt’s “Holes of Light,” Parra & Romero, Ibiza, 2017.
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Helena Tatay

Nancy Holt’s works seem to be camouflaged in the hangar that hosts her Ibiza exhibition at Parra & Romero. This sense of spaciousness is relevant to Holt’s practice, who remains best known for her site-specific earthworks. Like many artists of the 1960s and ’70s, Holt was critical of the gallery... continue reading
View of Ai Weiwei at Yokohama Museum of Art, Yokohama Triennale 2017.
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Cameron Allan McKean

The city of Yokohama blends almost seamlessly into Tokyo, forming one of the largest and most disaster-prone urban agglomerations in the world. But there are subtle differences between Yokohama and its northern neighbor—the smell of the Pacific, the quiet, moat-like boulevards—and major ones: this is where Western modernity breached the... continue reading
View of “The Boat is Leaking. The Captain Lied.,” Fondazione Prada, Venice, 2017.
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Erika Balsom

THE BOAT The metaphor of the ship of state is best known from Plato’s Republic. In the “collective exhibition concept” developed by Udo Kittelmann for the Fondazione Prada, this maritime trope of political community is evoked unmistakably yet only obliquely, mediated through the titular citation of Leonard Cohen’s devastating... continue reading

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art-agenda
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Xavier Hufkens
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