Elvia Wilk

The architects Gins and Arakawa dedicated their lives to immortality. Their designs and buildings force people to develop new behaviours and to change their bodies until one day they no longer need to die. By Elvia Wilk

 The Dadaists audience: themselves,  Berlin 1920 Opening with Hannah Höch, Otto Schmalhausen, Raoul Hausmann, John Heartfield mit Kind, Otto Burchard, Margarete und Wieland Herzfelde, Rudolf Schlichter, Ludwig Mies van der Rohe (?), Unbekannt und Johannes Baader

The Dadaists audience: themselves, Berlin 1920

Opening with Hannah Höch, Otto Schmalhausen, Raoul Hausmann, John Heartfield mit Kind, Otto Burchard, Margarete und Wieland Herzfelde, Rudolf Schlichter, Ludwig Mies van der Rohe (?), Unbekannt und Johannes Baader

The field of art is considered to be free, open and accessible to everyone. In reality, no outsiders have been spotted here for a long time. Does “art audience” today really only mean people who have an (economic) interest in the art world? Is anyone immune to the half-drunk advances of its warped social economy? Are we all alone? With these questions in mind, our reporter Elvia Wilk went from Berlin to Venice to the hotspots of this summer's art viewing and asked people.

 What Sort of Man Reads Playboy?, 2010-2012 Glitter, oil, collage on canvas 137,2 x 124,5 cm Photo: Moritz Frei © Chris Martin Courtesy of Chris Martin and KOW, Berlin

What Sort of Man Reads Playboy?, 2010-2012
Glitter, oil, collage on canvas
137,2 x 124,5 cm
Photo: Moritz Frei
© Chris Martin
Courtesy of Chris Martin and KOW, Berlin

It’s undeniable that Chris Martin’s paintings resemble »outsider art«. Yet I like them not for being intuitive, or spiritual, or liberated from convention – although they are all these things – but because they are affectionate.