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All images: View of “Die Sein: Para Psychics,” Ludwig Forum, Aachen, 2022. Courtesy: Kerstin Brätsch, Gladstone Gallery, Brussels, and Ludwig Forum, Aachen. Photos: Mareike Tocha
Forget Y2K; the 2010s are already back again. But retromania leads us down into a labyrinth of data horror, writes Adina Glickstein in her February column.
Still from Will Benedict and Steffen Jørgensen, The Restaurant, Season 2(detail), 2022, HD video, 39:05 min. Courtesy: Will Benedict, Steffen Jørgensen, and Centre d’Art Contemporain Genève
Fresh off a retrospective at Centre d’Art Contemporain Genève, the artist speaks to Mitchell Anderson about trying to prove the hard materiality of time.
At Kestner Gesellschaft’s retrospective of Paula Rego, Kristian Vistrup Madsen eulogizes her unmasking of how women suffer and prevail through suffering.
Minutes to midnight, Nolan Kelly wonders if hyperpop is a nostalgic rehash of too-recent hits, or a consolation for a culture exhausted by novelty-seeking?
Where Don’t Worry Darling styles itself as a critique of retro-patriarchy, Steven Phillips-Horst sees a vision of womanhood stuck in a cul-de-sac of moral escapism.
Will we still set New Year’s resolutions when our consciousness lives on computers? Adina Glickstein rings in 2023 with transhumanists, goblins, and worms.
