Skulpi Magazine Presentation

Magazine Release
Leseperformance  

Skulpi III Release at Spike Berlin, January 2015

SKULPI III taucht, fliegt, liegt am Grund unseres Gewissens, verborgen vom Schauer und Schimmer unserer Wünsche. Geschick, Geschmack, Wogen durchkämmen die Wellen, Wolken wüten durch unsere Stimme. nur dein Ohr kann sie hüten. Ohr, siehst du mich – ich kann deinen warmen Schatten spüren. Ein Knick, eine Schleife, er umschweift mein Empfinden und wir finden zusammen was Zeit unter uns verteilt. Eine Schere gleitet durchs Portrait, sie schmeckt, eine Clique, aufs Brot, nicht alles natürlich. Zwischen der Heimat , dem Abstrakten, den Winkeln der Galerie, dem Zug bergauf fängt uns das Verlorene auf, lässt uns nicht los bis der Körper sich entspannt.

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Magazine
Roman Schramm
Skulptur
Performance

Discourse
Still from “EVERY ANGEL IS TERRIFYING,” produced by Praxis Society, 2023

Still from “EVERY ANGEL IS TERRIFYING,” produced by Praxis Society, 2023

User Error: Angel Investors on Holy Land

Hearing murmurs of crypto city-states in the making, Adina Glickstein ponders the complicated politics of exit.

Views
View of “Love Language,” Croy Nielsen, Vienna, 2023. All images courtesy: the artist and Croy Nielsen, Vienna. Photos: Kunst-dokumentation.com

View of “Love Language,” Croy Nielsen, Vienna, 2023. All images courtesy: the artist and Croy Nielsen, Vienna. Photos: Kunst-dokumentation.com

Five-Star Review: Sandra Mujinga

5☆ is back! Maximilian Geymüller drops by Croy Nielsen, Vienna to see Sandra Mujinga’s follow-up to her Preis-der-Nationalgalerie exhibition.

Discourse
#75

Michella Bredahl, Siblings Martha, Alma, Asta and Olga in their home, 2022

be still my heart

Stephanie LaCava hovers over streams of online girlhood, scanning for the highly charged tropes and the transient beauty of the jeune fille 2.0.

Views
#75
Lion Attacking a Horse , 4th century BCE, pentelic marble. © Roma, Sovrintendenza Capitolina ai Beni Culturali. Courtesy: Archivio Fotografico dei Musei Capitolini, Rome

Lion Attacking a Horse, 4th century BCE, pentelic marble. © Roma, Sovrintendenza Capitolina ai Beni Culturali. Courtesy: Archivio Fotografico dei Musei Capitolini, Rome

Breaks Down into Many Times

The third exhibition in a research series on Greco-Roman antiquities at Fondazione Prada, Milan, uncovers the tears, sutures, and grafts of capital-H History.

People
#01
Monica Bonvicini, Stonewall 3 , 2002, galvanized steel tubes, chains, and broken safety glass, 205 x 1230 x 100 cm. All images: © Monica Bonvicini, VG-Bild Kunst, Bonn, 2022. Courtesy: the artist; Tanya Bonakdar Gallery, New York; Galleria Raffaella Cortese, Milan; Galerie Peter Kilchmann, Zurich; and Galerie Krinzinger, Austria. Photo: A. Burger

Monica Bonvicini, Stonewall 3, 2002, galvanized steel tubes, chains, and broken safety glass, 205 x 1230 x 100 cm. All images: © Monica Bonvicini, VG-Bild Kunst, Bonn, 2023. Courtesy: the artist; Tanya Bonakdar Gallery, New York; Galleria Raffaella Cortese, Milan; Galerie Peter Kilchmann, Zurich; and Galerie Krinzinger, Austria. Photo: A. Burger

Cage Club: Monica Bonvicini

Mid-way through Monica Bonvicini’s exhibition “I do You” at the Neue Nationalgalerie in Berlin, we’re resurfacing an interview with the artist from the very first issue of Spike.

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From right to left: Brittany Engel-Adams, Vincent McCloskey, Brittany Bailey, and David Thomson in Yvonne Rainer’s Hellzapoppin’: What About the Bees? , 2022. Courtesy: Performa and New York Live Arts. Photo: Maria Baranova

From right to left: Brittany Engel-Adams, Vincent McCloskey, Brittany Bailey, and David Thomson in Yvonne Rainer’s Hellzapoppin’: What About the Bees?, 2022. Courtesy: Performa and New York Live Arts. Photo: Maria Baranova

Last Chance

Premiered in Europe last month at Kunsthalle Baden-Baden, Yvonne Rainer’s final performance aspires to complicate her legacy on questions of exclusion.

Views
#75
Joan Mitchell, No Room at the End , 1977, oil on canvas, 281 x 361 cm. © The Estate of Joan Mitchell. Courtesy: Fondation Louis Vuitton, Paris

Joan Mitchell, No Room at the End, 1977, oil on canvas, 281 x 361 cm. © The Estate of Joan Mitchell. Courtesy: Fondation Louis Vuitton, Paris

Fortunate Fall

At Fondation Louis Vuitton, Barry Schwabsky asks if a side-by-side look at Claude Monet and Joan Mitchell does not incidentally reveal how little their work had in common.

Views
#75
Senga Nengudi performing Air Propo at Just Above Midtown, 1981. Courtesy: Senga Nengudi

Senga Nengudi performing Air Propo at Just Above Midtown, 1981. Courtesy: Senga Nengudi

Organization vs. Institution

MoMA looks back on the New York gallery Just Above Midtown (1974–86), a hub for Black abstract and conceptual artists long omitted from the canon.

Views
View of Matthew Gasda, Dover , Beckett’s, New York, 22 Januar 2023. Photo: Matthew Weinberger

View of Matthew Gasda, Dover, Beckett’s, New York, 22 January 2023. Photo: Matthew Weinberger

Tainted Love: on Matthew Gasda’s “Dover”

Is the tragic hero even possible in 2023? Not really. But Matthew Gasda’s latest play does confront us with the moral quandaries that come with drama, conflict, and power games.

Views
#75
Still from LuYang, DOKU the Self , 2022, 3D animation film, 36 min. All images © LuYang. Courtesy: LuYang and Société, Berlin

Still from LuYang, DOKU the Self, 2022, 3D animation film, 36 min. All images © LuYang. Courtesy: LuYang and Société, Berlin

The Many Lives

New video works at Palais Populaire starring LuYang’s hyperreal, reincarnating avatar spell out their street-styled vision of mortal, spiritual, and virtual realms.

Views
#75
Galli, oft sieht man die Zitrone kaum (Often, One Hardly Sees the Lemon), 1989, acrylic, emulsion and chalk on nettle, 150 x 180 cm

Galli, oft sieht man die Zitrone kaum (Often, One Hardly Sees the Lemon), 1989, acrylic, emulsion and chalk on nettle, 150 x 180 cm. All images © VG Bild-Kunst, Bonn 2022. Courtesy: Galli and Kraupa-Tuskany Zeidler, Berlin. Photos: def image

Post-anthro Dust-ups

At Galli’s latest show with Kraupa-Tuskany Zeidler, Martin Herbert discerns a shift in the painter’s understanding of the body, from a site of conflict to a grounds for empathy.

"Our identity could become an idol that we sculpt anew each morning from the digital clay"

The Downward Spiral: The Figure Cannot Hold