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Ahead of the Alpine extravaganza, Vincenzo de Bellis talks his Peep-Hole origins, sickness as an artistic thematic, and viewing the fairs as curatorial snapshots of the right now.
In memory of Kenneth Anger (1927–2023), we’re republishing our 2006 interview with the iconoclastic filmmaker on silk flowers, vindictive scientologists, and his refusal to hustle for production money.
Ahead of his first-ever pool performance at Kunsthalle Friart Fribourg, Ei Arakawa walks through the changing infrastructure for artist-parents, the integrality of surprise to humor, and modelling queer fatherhood.
Occasioned by a retrospective at JSF Berlin, the polymathic video artist talks to Harry Gamboa Jr. about self-love and technological liberation, LA’s ethos of inclusion, and finding humor in the struggle for change.
“Nicolas Moufarrege, National Studio Artist,” at “Nicolas Moufarrege's Room,” an unofficial exhibition installed in the artist’s studio, 1982. Courtesy: The Museum of Modern Art Archives, New York
In a brief and internationally mythologized career, Nicolas Moufarrege, subject of a compact retrospective at CCA Berlin, threaded together feminized house craft, spray-can Pop, and an urge to find the all within.
In memory of Michel Würthle (1943–2023), we’re resurfacing his Autumn 2006 conversation with Roberto Ohrt and Harald Fricke on unoccupied spaces and Würthle’s unquenchable desire to make books.
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.
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.
Rhea Dillon, A Caribbean Ossuary, 2022, wooden cabinet and cut crystal, 42 × 208 × 161.5 cm. Courtesy: the artist and Soft Opening, London. Photo: Theo Christelis
The Ukrainian artist Nikita Kadan moved into a bunker at the war's beginning. There, he spoke to Hans Ulrich Obrist and Sebastian Clark about how the past remains in the subjunctive and why we need a new anti-fascism.
The glamor of the Cannes Film Festival feels impenetrable to most mortals. But what if it’s not? What if you just had to learn how to fake your way in? By Nolan Kelly
Still from Wong Ping, Crumbling Earwax, 2022, 3-channel video installation, 13 min.Installation view at “Wong Ping: Ear Wax”, Times Art Center Berlin, 2022. Photo: Jens Ziehe, Berlin
Tea Hacic-Vlahovic has written Spike’s society column, “Gesellschaft am Ende”, since the summer of 2021. It’s time it gets from the paper to the World Wide Web. We start from the start, Spike #68.
R.U. Sirius, who shaped digital culture since its inception, dishes to Lydia Sviatoslavsky about (what’s left of) cyberpunk, stoner-inflected French theory, and the drab cruelty of American politics.
Sobbing dolls, Tarkovsky remakes, and in-flight sushi served in air ambulances: Jordan Strafer’s films are equal parts haunted, heartbreaking, and hilarious. The artist talks truth with Jeppe Ugelvig on the occasion of her first major solo show.
Rafaël Rozendaal has been making digital art for two decades, and he’s unfazed by the rise of Web3. In this conversation with Spike, he explores how websites are like poetry, dishes some lessons in exhibiting digital work, and argues in favour of keeping the punk spirit alive in NFTs.
Performance artist Deborah Hazler elevates grumbling – about everything from cruel politicians to cat videos – to the level of fine art at ImPulsTanz 2021.
Artwork elucidates, suggests, deconstructs, and elides, but first it’s hung, framed, shipped and downloaded. In our new series,“Production Line”, Spike talks to the people who do just that: the brains (and brawn) behind the operation. First up is Matthew Tully Dugan – simply “Tully” to those in the know. Got a situation? He can handle it.
Ditching the strictures of sports in favour of going pro in performance art, Yuki Kobayashi adopts athletics as a lens to reveal our reductive assumptions about sexuality and gender.
Spike Berlin has been host to a collaborative show between Ivan Gallery, Bucharest, and Temnikova & Kasela Gallery, Tallinn. Before the final days of the group show, we spoke to the gallerists about the situation in their home countries, and how the show “On Adornments” came together.
As the 7th edition of the Yokohama Triennale is set to open in Japan, Francesca Ceccherini sat down with Raqs Media Collective to discuss their curatorial strategy, and how the exhibition has developed online, in print, and elsewhere.
Bianca Heuser talks with Dan Bodan about his work for Google and the premiere performance of “A Flow of Serosities”, an algorithmic composition made in collaboration with programmer and sound artist Scott Carver
One of the leading figures of 1990s conceptual dance reflects on how memory, conflict and attention have shaped his ongoing project “Retrospective”, recently presented in Berlin
A Summer Chronicle, part 4: NATASHA STAGG watches Once Upon a Time in Hollywood and reflects on the culture that engendered Sharon Tate and Marilyn Monroe's tragic stardom.
Director Hedi Slimane’s new Celine Art Project enlists contemporary artists to design work for stores around the world. Charles Teyssou discusses Slimane’s artistic imaginary through Americana cultural landscapes, and poses ten questions to two of Slimane’s collaborators, David Kramer and Shawn Kuruneru.
Spike attended the finger food VIP breakfast at the NetJets Art Basel lounge to talk to the American artist about the moon and the dark side of humanity’s favourite planet.
A Summer Chronicle, part 1: NATASHA STAGG is back with her summer column and draws the connections between consumerism, waste, sustainability, and the intangibility of identity
Three important protagonists of the Bangkok Art Scene, Unchalee “Lee” Anantawat, Gridthiya “Jeab” Gaweewong, and Narawan “Kyo” Pathomvat, on the impacts their spaces have had, and how they have navigated Thailand’s complex political reality. By Abhijan Toto
Back when artist Pippa Garner was still called Phil, she worked as a combat artist in the Vietnam War. After that she studied automobile design and designed ironic functional products for a future that was never to come. A conversation about living in willed alienation. By Fiona Duncan.
A Summer Chronicle, part 6. NATASHA STAGG on the pressure to keep up with body trends, makeup masks in the sheets, and why we need to to stop talking about going to the gym
A Summer Chronicle, part 5. NATASHA STAGG on the conflicting worlds of the art scene and her garbage man boyfriend, and the economies of attraction between writers and fans
An interview with dance and choreography artist Meg Stuart who is receiving a Golden Lion for Lifetime Achievement Award during the Venice Biennale Danza 2018. By Astrid Kaminski
An interview with Margaret Burton, an ex-artist who found her way into the fringes of fashion to criticise the industry from within. By Ché Zara Blomfield
Choreographer Trajal Harrell talks to Astrid Kaminski about his conceptual runway dances, Butoh and Rei Kawakubo just before the German premiere of his performance In the Mood for Frankie
The Austrian-born choreographer talks to Victoria Dejaco about the paradoxes of sexual harassment in dance and her latest work Apollon Musagète, which was recently staged at Tanzquartier Wien
Roger Federer has become the first player ever to win 20 Grand Slam titles. Asad Raza wrote an ode to him and his sport, bringing some light to a dark time.
The power of Verena Dengler's art does not lie in individual objects but in the polyphonic stories they invoke. She finds the weak spots in the dominant view of reality and authoritarian discourses and puts them under strain in the hope of breaking authoritarian discourses once and for all.By Tenzing Barshee
A Summer Chronicle, part 3: Natasha Stagg observes the day to day life of New York's Upper East Side while sitting in a coffee shop offering 26$ wedge salads
There is something enigmatic about her theatrical installations. With paintings, readymades, sculptures, drawings and videos, they draw the viewer into a world of glitter, horror, stars and victims, but we never know who it belongs to. By Barry Schwabsky
The choreographer spoke to Asad Raza about dance and exhibitions, the process of “de-hearsal”, and how Metallica and Shakespeare shook up his sense of time and space.
The sculptures the artist started making in 1980s Vienna stand in stark contrast to Actionism and monumental sculpture. Her medium is light, and in her most recent neon works the digital plays an increasingly important role. By Maximilian Geymüller
![Tobias Spichtig, "Good OK Great Fantastic Perfect Grand Thank You". Installation view from Swiss Institute, New York. Courtesy of the artist.](https://www.spikeartmagazine.com/sites/default/files/styles/medium/public/users/shared/articles/images/tobias-spichtig_swiss_institute_ny_dp2m0914_spike.jpeg?itok=b48by-4S "Tobias Spichtig, "Good OK Great Fantastic Perfect Grand Thank You". Installation view from Swiss Institute, New York. Courtesy of the artist.")
![Geoffrey Mak in front of "Avery Singer: Reality Ender" at Hauser & Wirth, New York.](https://www.spikeartmagazine.com/sites/default/files/styles/medium_square_400/public/users/shared/articles/images/geoffmak_averysinger.jpg?itok=lBunYztR "Geoffrey Mak in front of "Avery Singer: Reality Ender" at Hauser & Wirth, New York.")
