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

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