Fondazione Prada

 Exhibition view of “Lizzie Fitch | Ryan Trecartin: Whether Line” Fondazione Prada, 2019 Foto/Photo Andrea Rossetti Courtesy Fondazione Prada Lizzie Fitch | Ryan Trecartin Plot Front, 2019 4K video, color, sound, 1hr 45min approx. Wood, sheet metal, carpet, perforated metal acoustical panels, drywall, paint, PVC siding, bituminous sheath, rockers, lights, ambient sound

Exhibition view of “Lizzie Fitch | Ryan Trecartin: Whether Line” Fondazione Prada, 2019
Foto/Photo Andrea Rossetti

Courtesy Fondazione Prada

Lizzie Fitch | Ryan Trecartin
Plot Front, 2019
4K video, color, sound, 1hr 45min approx. Wood, sheet metal, carpet, perforated metal acoustical panels, drywall, paint, PVC siding, bituminous sheath, rockers, lights, ambient sound

Jeppe Ugelvig on the duo’s latest work after relocating their studio to rural Ohio to explore post-Trump American folklore through their neurotic and bewildering lens:

 

 

This month Ella Plevin slides her way in and out of “thin places” and finds that there’s plenty of nothing to think about (except the number sixty-four).  

 Gelitin Fumami (2017)

Gelitin
Fumami (2017)

By Barbara Casavecchia

 Edward & Nancy Reddin Kienholz Jody, Jody, Jody , 1993–94   Installation view Fondazione Prada, Milan  Photo: Delfino Sisto Legnani Studio Courtesy Fondazione Prada

Edward & Nancy Reddin Kienholz
Jody, Jody, Jody, 1993–94
 

Installation view Fondazione Prada, Milan 

Photo: Delfino Sisto Legnani Studio
Courtesy Fondazione Prada

Joanna Fiduccia on "Kienholz: Five Car Stud" at Fondazione Prada in Milan

 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.