Category Archives: Art

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

Mladen Stilinović "Artist At Work" (1978)

Our Work is Never Over

(This review was originally published on www.frieze.com in August 2012) Our Work is Never Over at Matadero, Madrid, Spain ‘Our Work is Never Over’ comprises work by ten artists exploring the challenges of making a living. The exhibition operates on two levels.

Mladen Stilinović "Artist At Work" (1978)

Our Work is Never Over

(This review was originally published on www.frieze.com in August 2012) Our Work is Never Over at Matadero, Madrid, Spain ‘Our Work is Never Over’ comprises work by ten artists exploring the challenges of making a living. The exhibition operates on two levels.

Anna Halprin, City Dance, 1976-1977. Performance on the streets of San Francisco

Lines of flight: urban resistance, dreamscapes and social play

Some theoretical notes concerning the exhibition Desire Lines   Wayfarer, your footprints are the way, and nothing else; wayfarer, there is no path, you make the path by walking.1  Antonio Machado, Campos de Castilla, 1912 Exactly one hundred years ago,

Anna Halprin, City Dance, 1976-1977. Performance on the streets of San Francisco

Lines of flight: urban resistance, dreamscapes and social play

Some theoretical notes concerning the exhibition Desire Lines   Wayfarer, your footprints are the way, and nothing else; wayfarer, there is no path, you make the path by walking.1  Antonio Machado, Campos de Castilla, 1912 Exactly one hundred years ago,

'Waiting, Giving, Spent' (2012).

Gabriel Kuri’s “Classical Symmetry, Historical Data, Subjective Judgement”

This review was originally published on Art-Agenda in May 2012 Contingency and probability are long-standing conceptual interests for Mexican artist Gabriel Kuri. His 2011 exhibition at South London Gallery was titled “Before Contingency After the Fact,” for example. His current show at

'Waiting, Giving, Spent' (2012).

Gabriel Kuri’s “Classical Symmetry, Historical Data, Subjective Judgement”

This review was originally published on Art-Agenda in May 2012 Contingency and probability are long-standing conceptual interests for Mexican artist Gabriel Kuri. His 2011 exhibition at South London Gallery was titled “Before Contingency After the Fact,” for example. His current show at