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

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

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

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

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

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 : ‘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 : ‘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

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

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 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 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

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.

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,

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,

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

‘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