Santa-Sangre-Blu-Ray-1

Jodorowsky’s Santa Sangre: Every unhappy family is unhappy in its own way

For the writer of these lines there is hardly anything more nightmare-inducing than a circus. With horrific clowns, knife-throwers, dwarves dressed in humiliating costumes and sad-eyed caged animals, the circus somehow manages to encapsulate and represent everything that is wrong

Santa-Sangre-Blu-Ray-1

Jodorowsky’s Santa Sangre: Every unhappy family is unhappy in its own way

For the writer of these lines there is hardly anything more nightmare-inducing than a circus. With horrific clowns, knife-throwers, dwarves dressed in humiliating costumes and sad-eyed caged animals, the circus somehow manages to encapsulate and represent everything that is wrong

Mark Leckey, Pylons, Nylons & Klossowski AD (2013). Installation view at Frieze Art Fair 2013

Frieze Art Fair: fascination, opposition and the spectre of institutional critique

Like every year in London around mid October, Frieze Art Fair kicks in and all hell breaks loose. The number of reviews and commentaries across the international art press keeps growing with every edition, along with the urgency to cover

Mark Leckey, Pylons, Nylons & Klossowski AD (2013). Installation view at Frieze Art Fair 2013

Frieze Art Fair: fascination, opposition and the spectre of institutional critique

Like every year in London around mid October, Frieze Art Fair kicks in and all hell breaks loose. The number of reviews and commentaries across the international art press keeps growing with every edition, along with the urgency to cover

View of Jack Lavender’s “Dreams Chunky,” The approach, London, 2013.

Jack Lavender’s ‘Dreams Chunky’

This review was originally published on Art-Agenda in July 2013 The group of sculptures gathered here feel like the remnants of some stranded explorer’s dedicated toil, the evidence of an island-bound prisoner bent on making the most of his imposed yet paradisiacal

View of Jack Lavender’s “Dreams Chunky,” The approach, London, 2013.

Jack Lavender’s ‘Dreams Chunky’

This review was originally published on Art-Agenda in July 2013 The group of sculptures gathered here feel like the remnants of some stranded explorer’s dedicated toil, the evidence of an island-bound prisoner bent on making the most of his imposed yet paradisiacal

Rene Magritte by Duane Michals. Brussels, 1965.

Showing the things we cannot see, an interview with Duane Michals

 It’s sunny day of March in New York and I am roaming the district of Gramercy Park, making time before my meeting with the photographer Duane Michals. I move through small streets where quaint 19th century houses in various European

Rene Magritte by Duane Michals. Brussels, 1965.

Showing the things we cannot see, an interview with Duane Michals

 It’s sunny day of March in New York and I am roaming the district of Gramercy Park, making time before my meeting with the photographer Duane Michals. I move through small streets where quaint 19th century houses in various European

Sanja Iveković, "Inter Nos" performace (1977)

Sanja Iveković : ‘Unknown Heroine’

In the centre of Zagreb, in a district with streets named after different leaders from the history of Croatia, there is a little street called Ulica Neznane JunaKinje (street of the Unknown Heroine). The street was given this name in

Sanja Iveković, "Inter Nos" performace (1977)

Sanja Iveković : ‘Unknown Heroine’

In the centre of Zagreb, in a district with streets named after different leaders from the history of Croatia, there is a little street called Ulica Neznane JunaKinje (street of the Unknown Heroine). The street was given this name in

October1

On Thomson & Craighead’s October

‘We are treating the Occupy movement as a landscape, and October as a representation of it, particularly of its global nature’, Thomson & Craighead tell me about their commission for the 2012 Brighton Photo Biennial. Since they are working in

October1

On Thomson & Craighead’s October

‘We are treating the Occupy movement as a landscape, and October as a representation of it, particularly of its global nature’, Thomson & Craighead tell me about their commission for the 2012 Brighton Photo Biennial. Since they are working in

Karlos Gil 'The Intervals' (2012). Installation views at Sala d'Arcs, Valencia.

Karlos Gil: The object editor & the semionaut

Quotation might very well have become one of the prevalent strategies for many contemporary artists since the dawn of Postmodern times. This is not the place to elaborate yet another list of usual suspects and I certainly wouldn´t want to

Karlos Gil 'The Intervals' (2012). Installation views at Sala d'Arcs, Valencia.

Karlos Gil: The object editor & the semionaut

Quotation might very well have become one of the prevalent strategies for many contemporary artists since the dawn of Postmodern times. This is not the place to elaborate yet another list of usual suspects and I certainly wouldn´t want to