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.
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.
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.
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.
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.
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
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.
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.
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
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 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