REVIEWS

/ AOIFE ROSENMEYER
Raphaela Vogel’s “Son of a Witch”

BERLINISCHE GALERIE, Berlin

Installation view of Raphaela Vogel's "Son of a Witch" at Berlinische Galerie, Berlin, 2019.
by

Aoife Rosenmeyer

Raphaela Vogel turns her chaotic, insistent, and reflexive gaze on religion in her video installation “Son of a Witch,” presented at the Berlinische Galerie as part of the 10th anniversary celebration of the Videoart at Midnight Festival. After walking through a portal delicately molded from white plastic and featuring dragons... continue reading
Jean-Marie Appriou’s “November”

GALERIE EVA PRESENHUBER, Zürich

Jean-Marie Appriou, The gear of the suns, 2018.
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Aoife Rosenmeyer

The show is called “November”; I write as the month draws to a close. It’s cold and slightly damp, albeit not enough to offset the long, dry summer and autumn. But the apples sold at the market are still crisp, the Raebeliechtliumzug—an annual walk through the dark, originating in harvest... continue reading
Étienne Chambaud’s “Nœuds Négatifs”

KUNSTHALLE MULHOUSE, Mulhouse

View of Étienne Chambaud’s “Nœuds Négatifs” at Kunsthalle Mulhouse, Mulhouse, 2018.
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Aoife Rosenmeyer

Marriott Edgar’s 1930s monologue Albert and the Lion recounts how the Ramsbottom family, on holiday in Blackpool, go to the town’s menagerie. There, little Albert is so disappointed with the spectacle that he pokes the lion, who promptly eats him, upon which his mother gives the manager an earful: “Right’s right,... continue reading
Sofia Hultén, History in Imaginary Time, 2012.
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Aoife Rosenmeyer

I just didn’t get Sofia Hultén’s work Pattern Recognition (2017). Several sets of 12 small perforated metal sheets, like those that hang on workshop walls, are arranged in tidy grids. Each set holds a number of tools or objects, short pieces of chain on one, plastic cutting templates on another,... continue reading
View of Charlie Godet Thomas’s “Roman-fleuve,” Vitrine, Basel.
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Aoife Rosenmeyer

An exhibition vitrine in a contemporary exhibition is a knowing nod to long traditions of display. By recreating a form of museum presentation, it relates to what Tony Bennett calls the “museum idea”(1) and its way of defining knowledge and, more broadly, power. Museums, according to Bennett, are places where... continue reading
“Quiet”

BARBARA SEILER GALERIE, Zürich

View of “Quiet,” Barbara Seiler Galerie, Zurich, 2017.
by

Aoife Rosenmeyer

According to the exhibition’s introductory text, “Quiet,” curated by SALTS director and Art Basel Parcours curator Samuel Leuenberger, is inspired by Susan Cain’s 2012 book of the same title, which champions introverts in a world skewed in favor of the ebullient extrovert. It is an odd premise for an exhibition,... continue reading

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