Category Archives: Review

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.

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.

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

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

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

Luis Camnitzer’s “Reflejos y Reflexiones”

This review was originally published on Art-Agenda in January 2012 After several years of teaching and working in printmaking, the Uruguayan artist Luis Camnitzer made what he considers to be his first conceptual piece. It was 1966: written in black plastic

Luis Camnitzer’s “Reflejos y Reflexiones”

This review was originally published on Art-Agenda in January 2012 After several years of teaching and working in printmaking, the Uruguayan artist Luis Camnitzer made what he considers to be his first conceptual piece. It was 1966: written in black plastic