Category Archives: Art

‘The Freedom of Speech Itself’, or the betrayal of the voice

(This text was originally published at The White Review in June 2012) The instability of an accent, its borrowed and hybridised phonetic form, is testimony not to someone’s origins but only to an unstable and migratory lifestyle, which is of

‘The Freedom of Speech Itself’, or the betrayal of the voice

(This text was originally published at The White Review in June 2012) The instability of an accent, its borrowed and hybridised phonetic form, is testimony not to someone’s origins but only to an unstable and migratory lifestyle, which is of

Gonzalo Lebrija. Life Isn’t Worth a Thing

(This review was originally published on www.frieze.com in May 2012) Gonzalo Lebrija ‘La vida no vale nada‘ at Travesía Cuatro, Madrid, Spain. A hypnotizing sound overwhelmed the gallery, as if heralding an ominous event that never occurred. The source of the noise was

Gonzalo Lebrija. Life Isn’t Worth a Thing

(This review was originally published on www.frieze.com in May 2012) Gonzalo Lebrija ‘La vida no vale nada‘ at Travesía Cuatro, Madrid, Spain. A hypnotizing sound overwhelmed the gallery, as if heralding an ominous event that never occurred. The source of the noise was

Paulina Olowska’s ‘Mother 200’ at Simon Lee Gallery

‘Mother 200’ might sound like the name of an archetypal android character in an Isaac Asimov novel, but the painting that shares this title with Paulina Olowska’s latest exhibition, which shows a middle-aged woman puffing on a cigarette with squinting

Paulina Olowska’s ‘Mother 200’ at Simon Lee Gallery

‘Mother 200’ might sound like the name of an archetypal android character in an Isaac Asimov novel, but the painting that shares this title with Paulina Olowska’s latest exhibition, which shows a middle-aged woman puffing on a cigarette with squinting

Antoni Muntadas, ‘Entre/Between’

(This review was originally published in frieze magazine, issue 145 March 2012) Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain. The bilingual title of Antoni Muntadas’s retrospective, ‘Entre/Between’, is apt. The Barcelona-born, New York-based artist has spent most of his 45-year

Antoni Muntadas, ‘Entre/Between’

(This review was originally published in frieze magazine, issue 145 March 2012) Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain. The bilingual title of Antoni Muntadas’s retrospective, ‘Entre/Between’, is apt. The Barcelona-born, New York-based artist has spent most of his 45-year

Review of ARCOmadrid 2012

This review was originally published on Art-Agenda in February 2012 This year’s edition of ARCOmadrid Art Fair was having none of the doom and gloom that usually accompany the fair. The Spanish art scene has tended to berate its most important and

Review of ARCOmadrid 2012

This review was originally published on Art-Agenda in February 2012 This year’s edition of ARCOmadrid Art Fair was having none of the doom and gloom that usually accompany the fair. The Spanish art scene has tended to berate its most important and

Notes on the work of David Ferrando Giraut

‘Tell me: how long could you spend looking at this sticker? And at this other one? Do you remember? And this little detail over here? Years…centuries! A whole morning…! It’s impossible to know… You were in full flight, ecstasy. Suspended in a pause.

Notes on the work of David Ferrando Giraut

‘Tell me: how long could you spend looking at this sticker? And at this other one? Do you remember? And this little detail over here? Years…centuries! A whole morning…! It’s impossible to know… You were in full flight, ecstasy. Suspended in a pause.

History, solitude and hermeneutics in contemporary art criticism

This essay was originally published on the online art magazine A*DESK in January 2012 Art criticism is in crisis. The proposition is already a clamour in the world of art, above all at an editorial and academic level, which are, as

History, solitude and hermeneutics in contemporary art criticism

This essay was originally published on the online art magazine A*DESK in January 2012 Art criticism is in crisis. The proposition is already a clamour in the world of art, above all at an editorial and academic level, which are, as