REVIEWS

/ New York
Aura Satz’s “Listen, Recalibrate”

FRIDMAN GALLERY, New York

View of Aura Satz’s Preemptive Listening (Part 1: The Fork in the Road) at Fridman Gallery, New York, 2018.
by

Genevieve Yue

On the night of July 16, 2006, Mazen Kerbaj stood on a balcony in Beirut as Israeli Air Force bombs fell in the distance. He picked up his trumpet and played along to the ominous pops, some louder than others. Starry Night (2006), the composition that resulted, asks the unanswerable... continue reading
Jeffrey Gibson’s “I AM A RAINBOW TOO”

SIKKEMA JENKINS & CO., New York

View of Jeffrey Gibson’s “I AM A RAINBOW TOO” at Sikkema Jenkins & Co., New York, 2018.
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Alan Gilbert

If there ever was an ars poetica for house music, it might be the one articulated by Chuck Roberts that Larry Heard incorporated into a 1988 remix of his own groundbreaking single “Can You Feel It” (1986). Roberts’s proclamation is a nearly two-minute-long origin story delivered in sermonic fashion featuring... continue reading
“A Void”

601ARTSPACE, New York

View of “A Void” at 601Artspace, New York, 2018.
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Natasha Marie Llorens

In his press release for “A Void,” a group exhibition at 601Artspace, curator and artist Paul Ramírez Jonas provides an epigraphic clue to the relationship he sees between various forms of displacement that result in a void: “When books burn, people burn.” The phrase, according to the press release, is... continue reading
View of Zardulu the Mythmaker’s “Tricconis Aeternis: Rites and Mysteries” at Transfer Gallery, New York, 2018.
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Ania Szremski

The summer of 2018 was grifter season. Starting sometime in May, a strange coterie of glittering personages came coasting along: hustling socialites, scurrilous aventuriers, faux–Saudi princes. The hoax has always had a special place in American mythology, from a newspaper editor convincing his readers there were unicorns on the moon... continue reading
Trisha Baga, Mollusca & The Pelvic Floor, 2018.
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Leo Goldsmith

Trisha Baga’s third exhibition at Greene Naftali is also her most ambitious. “Mollusca & The Pelvic Floor,” like its cosmically hilarious and dizzyingly psychedelic predecessors, features a dazzling and untidy collection of found, handmade, and moving-image works: from doctored lenticular posters of human anatomy to idiosyncratic ceramic representations of everyday... continue reading
Hiwa K, Pre-Image (Blind as the Mother Tongue), 2017.
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Ania Szremski

Hiwa K doesn’t believe that art can change anything. Following a screening of his videos at the Film Society of Lincoln Center, the Iraqi-Kurdish artist explained his frustration with the uselessness of the whole contemporary art enterprise in the face of profound global violence. To hear him say that he doesn’t... continue reading

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The breeder
GALLERIA MASSIMODELUCA
ArtAsiaPacific
Cardi Black Box
galeria nara roesler
flashart
Art Monthly
art-agenda
Vitamin creative space
Blum&Poe
Art Newspaper
Peres Projects
Camera Austria