Walk into Galerie Tanja Wagner in Berlin and you suddenly are face-to-face with the man Ulf, himself. He’s there in photocopied-form; he’s there in his art works. Facing you are sheets and sheets of art works photocopied and taped to the white gallery walls, corners fluttering and overlapping, installed in a way that does not …
The first line of a press release by Am Nuden Da directs the reader as to how to approach the text that follows. The preamble to an exhibition of some form, the context of which we are presumably about to be enlightened, it invites us to engage “(Romantically)”. The words that follow might, one assumes, conform …
The 4th Moscow Biennale of Contemporary Art, beginning the last week of september, will run a cinematic program on metamodernism. Curated by Jake Yuzna, No More Modern: Notes on Metamodernism pairs recent video works by Mariechen Danz, Benjamin Martin, Sharyar Nashat and Pilvi Takala with free copies of Vermeulen & Van den Akker’s essay Notes on Metamodernism. …
It’s twenty years since the first issue of Frieze. To celebrate this milestone, the september issue of the magazine looks back at two decades of art, art criticism and essayism – and occasionally peaks into the (un)foreseeable future. Along with Simon Critchley and Nina Power, our very own Timotheus Vermeulen reviewed the philosophical debates that have come …
Last month the Wallach Art Gallery at Columbia University hosted Common love. As the catalogue aptly put it, the show exhibited a rather ‘unconventional exploration of love’ ‘Love?’ Yes. Love. L.O.V.E. And there could not have been a timelier moment. Of late love has been one of the most surprising, interesting and uplifting tropes in …
Over the last few decades, the international art scene has moved to Berlin. En masse. Inspired by cheap rents, massive spaces, and a high quality of life. But also by the plethora of myths of old and new. The city appears to be home to more art magazines and blogs, galleries and artists than the rest …
