Documenta 15 is all about networking.
Ten years after her death, Ulla Rosen Winbladh Culioli’s tapestries are being shown for the very first time. Galerie Odile Ouizeman’s show in Paris is a revelation.
The curator and critic’s new book of collected writings neglects his role as champion of blockbuster shows.
After disappearing a decade ago, Martin Margiela’s resurgence as a contemporary artist comes at least twenty years too late.
The 11th Gothenburg Biennial tells a powerful story about seafaring, colonialism, and racism, but suffers from a certain artistic and intellectual predictability.
In Matthew Barney’s comeback at the Hayward in London, self-mythologising has given way to a dark and icy world where environmental violence prevails.
In a closed-down Paris, Wu Tsang’s all-embracing exhibition at Lafayette Anticipations stages the desire to transcend the boundaries of the body and the psyche.
Manifesta 13 in Marseille – one of the European cities hardest hit by the pandemic – unbolts the door to madness. But is madness enough in these insane times?
The most important artists of the 2010’s were the ones who helped us to navigate through private and social neuroses, perversions, and psychoses.
In Cyprien Gaillard’s exhibition in Stockholm, the angel of fascism dances for an eternal and desirable sleep.
Fondation Cartier shows how artists today try to invent a personal visual language where theory and politics are latent and unfathomable.
Lap-See Lam demonstrates the advantages that transhumanism, technocapitalism, and post-internet art have in common.
Is the scandal engulfing Documenta 15 a tragedy of the arts, criticism, or the German debate on anti-Semitism?
Swedish author and climate activist Andreas Malm bets on a popular uprising against the fossil fuel industry.
Centre Pompidou’s exhibition on the Weimar Republic reveals more than meets the eye.
The Berlin Biennale overlooks the fact that art doesn’t need to be didactic.
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