Alexander Scrimgeour

 Arthur Jafa, Apex, 2013, Video, 8’22’’, colour, sound

Arthur Jafa
Apex (2013)
Installation view

By Alexander Scrimgeour

 Neïl Beloufa Exhibition view of "Global Agreement" (2018) Photo: Marc Krause

Neïl Beloufa
Exhibition view of "Neïl Beloufa. Global Agreement" (2018)
Photo: Marc Krause

By Alex Scrimgeour

 Symonds Pearmain; Haute Militaire, AW 2017; The Horse Hospital, London

Symonds Pearmain; Haute Militaire, AW 2017; The Horse Hospital, London

The contemporary has ousted the timeless in art today. Fashion, by contrast, has always operated in a different, tighter bond with the timely, anticipating the next season, channeling the zeitgeist.

 "Freedom is our religion" hoarding/billboard on Kyiv's Maidan Nezalezhnosti (Independence Square) 

Hoarding on Maidan Nezalezhnosti (Independence Square) 

Spike editor Alexander Scrimgeour visits Kyiv, capital of a nation working through its recent past, and tries make sense of its complicated present – through contemporary art.

Isa Genzken at König Galerie by Dominikus Müller, Preis der Nationalgalerie by Chloe Stead, Parapolitics at HKW by Alexander Scrimgeour, Salvage Art Institute at BNKR in Munich by Daniela Stöppel, Alexander Kluge at Folkwang Museum in Essen by Moritz Scheper

Marcel Broodthaers, Parle Ecrit Copie (1972–73)
Three typewriters, letterpress on canvas, each 34 x 31.5 x 38 cm, © Estate Marcel Broodthaers, Courtesy Michael Werner Gallery

Contemporary Art Writing Daily write anonymous exhibition reviews. Their writing is curlicued, abbreviated, crisp – criticism is reduced to its essentials. By Alexander Scrimgeour

 Ibrahim Mahama Check Point Prosfygika. 1934-2034. 2016-2017  (2017) Photo: Mathias Völzke

Ibrahim Mahama
Check Point Prosfygika. 1934-2034. 2016-2017 (2017)
Photo: Mathias Voelzke

Alexander Scrimgeour gets to the bottom of the problem that is the Athens instalment of Documenta

 Christopher Williams, "Model-Nr.: 1740, Rotznasen - Kinder Model Agentur, Liesegangstr. 7A, 40211 Düsseldorf, Studio Rhein Verlag, Düsseldorf, January 28, 2016", 2016 © Christopher Williams, Courtesy Capitain Petzel, Berlin & Galerie Gisela Capitain, Cologne

Christopher Williams, Model-Nr.: 1740, Rotznasen - Kinder Model Agentur, Liesegangstr. 7A, 40211 Düsseldorf, Studio Rhein Verlag, Düsseldorf, January 28, 2016, 2016 © Christopher Williams, Courtesy Capitain Petzel, Berlin & Galerie Gisela Capitain, Cologne

A walk around Berlin galleries by Alexander Scrimgeour

 5000 Feet is the Best, 2011 Digitalfilm / Digital film, 30 min.

5000 Feet is the Best, 2011 Digitalfilm / Digital film, 30 min.

The perfectly crafted, deeply unsettling films of Omer Fast revolve around the traumatic experiences of refugees, soldiers returning home from war and drone pilots. In a constant interplay of immersion and alienation, they turn filmic illusion against itself.

Alexander Scrimgeour talks to Ben Vickers about networks and institutions, new community-based social models, and the London post-Internet scene.

 Still from Józef Robakowski, Moscow, 1986.   

Still from Józef Robakowski, Moscow, 1986. Lokal_30 gallery.

 


Spike’s editor at large went to Warsaw Gallery Weekend and picked out a few of the art experiences in the city’s galleries and institutions that helped make his trip worthwhile.

 Still from Home , 2014, by Metahaven & Mat Dryhurst

Still from Home, 2014, by Metahaven & Mat Dryhurst

If techno had its origins in the industrial sounds of Motor City, what sort of music corresponds to the screen-mediated environment we live and work in today? Maybe the haunting, radically anti-escapist collages that have brought Holly Herndon to fame since her debut album Movement in 2012. Listening to Herndon’s new album Platform, Alexander Scrimgeour considers our changing relationship with machines.

 BMW Tate Live 2015 – "If Tate Modern was Musée de la danse?" Olivia Hemingway ©Tate Photography

BMW Tate Live 2015 – "If Tate Modern was Musée de la danse?" Olivia Hemingway ©Tate Photography

Last weekend, dancer and choreographer Boris Charmatz hypothetically transformed Tate Modern into Musée de la danse. Our editor-at-large was harbouring some reservations about this new democratic participatory art, but found it surprisingly moving.