Review of Frieze Art Fair 2013

This review was originally published on Art-Agenda in October 2013 The ecosystem of Frieze Art Fair in London keeps growing, like a healthy family of good-looking siblings. That is, indeed, exciting, but it is also a real tour de force for visitors, who since last

Review of Frieze Art Fair 2013

This review was originally published on Art-Agenda in October 2013 The ecosystem of Frieze Art Fair in London keeps growing, like a healthy family of good-looking siblings. That is, indeed, exciting, but it is also a real tour de force for visitors, who since last

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

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

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