REVIEWS

Manifesta 12

MANIFESTA 12, Palermo

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

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.
by

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.
by

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.
by

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.
by

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
View of the central display, La Rivière or “le serpent,” at the Musée du quai Branly, Paris.
by

Natasha Marie Llorens

Spaces is an art-agenda feature that proposes a thematic examination of art institutions based on the analysis their physical and contextual characteristics. Every two months, art-agenda publishes a new reflection on the particular characteristics of galleries: their architecture, identity, or their relation to their historical and geographical context. Entitled Their... continue reading

AUTHOR

view all

GALLERY

view all
Abc
Bq
Kow
M+B
Non
Vw

ARTIST

view all
Hilger
Vitamin creative space
Cardi Black Box
Air the paris
GALLERIA MASSIMODELUCA
Anton Kern Gallery
Art Monthly
sp-arte
Kaleidoscope
Camera Austria
Afterimage
Blum&Poe
Carolina Nitsch