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

An interview with Ryan Gander

Conceptual art offers viewers a journey along an associative chain. There is always a bottom. O rather, the work attains its own life by cannibalizing the half-lives of its sources. Looping back through multiple tropes to arrive at its own

An interview with Ryan Gander

Conceptual art offers viewers a journey along an associative chain. There is always a bottom. O rather, the work attains its own life by cannibalizing the half-lives of its sources. Looping back through multiple tropes to arrive at its own

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

Notes for an idealistic visit to the Frieze Art Fair

This review was originally published on the online art magazine a*desk in October 2011 The voracity with which the contemporary art market chews up increasingly young artists is, at this point, just one more feature of extremely accelerated cultural consumerism. The cycles

Notes for an idealistic visit to the Frieze Art Fair

This review was originally published on the online art magazine a*desk in October 2011 The voracity with which the contemporary art market chews up increasingly young artists is, at this point, just one more feature of extremely accelerated cultural consumerism. The cycles

Ryan Gander or the pleasurable frustration

This review was originally published on the online art magazine A*DESK in September 2011 An abandoned industrial warehouse in the east of London is the scenario chosen by the British artist Ryan Gander to represent his latest and until now most

Ryan Gander or the pleasurable frustration

This review was originally published on the online art magazine A*DESK in September 2011 An abandoned industrial warehouse in the east of London is the scenario chosen by the British artist Ryan Gander to represent his latest and until now most