ARIANNE MÜLLER | SCHIEFE ZÄHNE | ARTFORUM | CRITICS’ PICK

ARIANNE MÜLLER | SCHIEFE ZÄHNE | ARTFORUM | CRITICS’ PICK

Ariane Mueller’s “7 rue des Grands Augustins,” 2023, a series of eight acrylics on canvas, celebrates the joy of painting while also conveying a more complex message. In an oblique commentary on the Spanish Civil War, Mueller calls back to Picasso’s Guernica, 1937. Rather than reproduce aspects 

LEDA BOURGOGNE | FRAGILE | PW | REVIEW

LEDA BOURGOGNE | FRAGILE | PW | REVIEW

In David Cronenberg’s film Crimes of the Future, the plot unfolds in a hypothetical setting where humans no longer feel physical pain. Instead, they grow new, unknown organs that are then surgically removed. In this scenario, the body gets opened up in order to show, 

A CONVERSATION WITH RICHARD SIDES | PASSE-AVANT | INTERVIEW

A CONVERSATION WITH RICHARD SIDES | PASSE-AVANT | INTERVIEW

Gabriela Acha: We started this conversation one year and a half ago, in the frame of the Ars Viva Prize 2021, which you won along with Rob Cross and Sung Tieu and it feels like life as we knew it had shifted dramatically ever since. In 

ANGHARAD WILLIAMS | KUNSTVEREIN FÜR DIE RHEINLANDE UND WESTFALLEN | PASSE-AVANT | REVIEW

ANGHARAD WILLIAMS | KUNSTVEREIN FÜR DIE RHEINLANDE UND WESTFALLEN | PASSE-AVANT | REVIEW

In her 2014 article Sex and Wheels for the Guardian, Zadie Smith revisits at J.G. Ballard’s novel Crash. Following on the writer’s perception of his work as the “first pornographic novel about technology”, Smith reflects on Ludwig Wittgenstein’s statement that language is better understood through its use, and not 

YOUNG-JUN TAK | EFREMIDIS | ARTFORUM | CRITICS’ PICK

YOUNG-JUN TAK | EFREMIDIS | ARTFORUM | CRITICS’ PICK

Stereotypes about modern Germany have long centered on the allure of the Autobahn and its license for limitless speed. In the exhibition “Wohin?” (Where to?), Young-jun Tak disseminates and rearranges this trope in order to dismantle the popular constructs of German national identity. [ read 

LUCIO FONTANA | GALERÍA HELGA DE ALVEAR | ARTFORUM | CRITICS’ PICK

LUCIO FONTANA | GALERÍA HELGA DE ALVEAR | ARTFORUM | CRITICS’ PICK

In 1946, Lucio Fontana (1899–1968) declared that conventional forms of representation had been exhausted. The following year, the artist founded Spatialism, a movement that dispensed with the traditional emphasis on illusion and illustration and instead condensed light, time, and space into a minimal gesture—in Fontana’s 

ANTONIA BREME | REFLECTION SERIES | NEW TONI PRESS | PRESS TEXT

ANTONIA BREME | REFLECTION SERIES | NEW TONI PRESS | PRESS TEXT

It is difficult to think of a more iconic collaboration between artists and department stores than the one that went on for decades at Bonwit Teller, which commissioned emerging and established artists to design their window displays. The standpoints and approaches were as varied as 

Laura Langer at Kunsthaus Glarus | frieze | review

Laura Langer at Kunsthaus Glarus | frieze | review

The spiral has been used as a symbol since the beginning of recorded culture. In Celtic mythologies, for instance, spirals denote elevation to higher levels of consciousness. Popular iconographies based on Greco-Roman and Judeo-Christian mythology, on the other hand, combine the spiral with a straight 

Closer at Kunstverein Düsseldorf | frieze | review

Closer at Kunstverein Düsseldorf | frieze | review

In their essay ‘The Guild of the Brave Poor Things’(2017), artists Park McArthur and Constantina Zavitsanos ponderwhether true privacy is still a viable reality. This is an especially pertinent question for McArthur, whose own impaired mobility requires her to maintain proximity to others to carry 

Sara Sadik | Kaleidoscope | interview

Sara Sadik | Kaleidoscope | interview

Sara Sadik’s fictional narratives portray the Maghrebi youth (whom she refers to as beurness) in Marseille, the city to which she belongs. Rooted in a local perspective, her scripts, films, and performances tackle wider issues, such as the politics of identities and behaviours that lack