In the Wake of Brexit
Between Brexit and last week’s crash of the British Pound, Frieze London took a tentative approach, evoking the 90s but failing to draw from the period’s exuberance.
Between Brexit and last week’s crash of the British Pound, Frieze London took a tentative approach, evoking the 90s but failing to draw from the period’s exuberance.
A founding member of Chilean conceptualist group CADA in the 1980s, Juan Castillo insists on art’s social function as a means toward collective liberation.
Mexican artist Damián Ortega’s exhibition at Malmö Konsthall is a worrying signal of the populist, for-all approach currently besieging many contemporary art institutions.
Nav Haq has been appointed curator of the 9th Gothenburg Biennial, which will deal with the topic of secularism in Europe.
Reinstalled in a former limestone pit outside Malmö, Mike Nelson’s concrete sculpture produced for Malmö Konsthall in 2012, is left with a tenuous relationship to its site.
For Heimo Zobernig, there is no existential drama to play out during painting’s inexorable march toward death.
Jane Jin Kaisen’s exhibition at IAC in Malmö suggests the impossibility of representing Korea’s traumatic past, but argues for the necessity of recording its effects.
The mystery novel Headless is the culmination of artist duo Goldin + Senneby’s evasive – perhaps cynical – inquiry into the world of offshore capital.
Runo Lagomarsino and Carla Zaccagnini’s exhibition at Malmö konsthall follows a comedic logic of displacement, but the result is mostly confined within the expected.
Moderna Museet’s painting bonanza glitters, but leaves little room for sustained looking.
The Arts and Culture Magazine Publishers Forum announces an open call for a writer to join a research trip to Reykjavík.
Which memories do we preserve together, and which do we allow to fade into oblivion? It’s in that murky space that the collective coyote operates.
The main exhibition at the 61st Venice Biennale is a spiritualist séance with no spirits present.