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The 11th Berlin Biennale for Contemporary Art, Various Locations; Matthew Lutz-Kinoy at Museum Frieder Burda – Salon Berlin; and Meriem Bennani at Julia Stoschek Collection
Armerican Artist at the Queens Museum by Harry Burke. Rachel Harrison at the Whitney Museum of Contemporary Art by Adina Glickstein. Andro Wekua at Gladstone Gallery by Jeppe Ugelvig
Lu Yang fuses virtual with actual architectures, luring the viewer into syncretic hells of augmented realities. With high-energy soundtracks and by tapping into the realms of ancient Buddhism, cyberfeminism, and technoreligions, her installations and videos conjure spiritual stimulants, curious deities, death, and posthuman life forms. By Harry Burke
An interview with choreographer and dancer Emma Portner on breaking the male canon, the power of emotional vulnerability, and her new short film Femme Debout, commissioned by Fondation Beyeler
Laura Owens at Whitney Museum by Felix Bernstein, Jim Shaw at Metro Pictures by Iona Whittaker, Maria Thereza Alves at Vera List Center for Art and Politics by Harry Burke
The slow, elegant movements of bodies in Maria Hassabi's performances turn them into images that toggle unsettlingly between play, splay, and display. By Harry Burke
ZURICH: “Speak, Lokal” at Kunsthalle Zürich by Daniel Horn; GENEVA: Yoan Mudry at Art Bärtschi & Cie, Philippe Daerendinger at Quark, and Denis Savary at Galerie Xippas by Yann Chateigné; BASEL: Stephen Cripps at Museum Tinguely by Harry Burke
With his new book the author attempts to turn the “trance” of everyday life pink. While introducing it in New York’s The Kitchen the American poet also played the piano.
Questions of appropriation have never been easy, but the New York-based artists collective Shanzhai Biennial uses the strategy of the copy – or, better, a copy of the strategy – as a way of refusing easy categorization, whether as parody, masquerade, parasitism, critique, or something else. Their work raises questions about the spectacle, globalization, branding, and, as Harry Burke argues, compels us to reconsider the relationship between art and image.
With his denim installations, colourful body paintings, and dreamy videos, Korakrit Arunanondchai has achieved a quick and controversial success on the art world's stage. By Harry Burke.
“Generation Wuss” only wants to be liked, is incapable of dealing with criticism, and takes everything too seriously – this was the gist of a recent piece by Bret Easton Ellis in Vanity Fair. Responding to this no-holds-barred attack on today‘s twenty-somethings, the writer Harry Burke comes to his generation’s defence.
