Annalise van Even in  Echoic Choir  (2021). Photo: Paris Tsitsos

Annalise van Even in Echoic Choir (2021). Photo: Paris Tsitsos

This year's Wiener Festwochen gets all up in your business. Read Klaus Speidel's review, originally published in Spike #69 – STORYTELLING. 

 Astrit Ismaili,  Miss Kosovo , during  Another Map to Nevada , Copenhagen (2021). Photo: Luis Artemio de los Santos. © The Performance Agency

Astrit Ismaili, Miss Kosovo, during Another Map to Nevada, Copenhagen, 2021. Photo: Luis Artemio de los Santos. © The Performance Agency

The Performance Agency’s ode to Fluxus, Another Map to Nevada, falls somewhere between a performance art parcours and a boat party, embracing the unknown – even if it means getting a little wet.

Cajsa Von Zeipel, Catch and Kill, 2020. Pigmented silicon, mixed media,127 x 195.6 x 182.9 cm. Courtesy of Faurschou Foundation. Photo: Emilios Haralambous

Hypercomf, Polyceliumoffice, 2021. Multidisciplinary installation. Various media and dimensions. Metal, agricultural tools, acrylic, desk chairs, wool fabrics, original cotton fabrics, plants, monitors, mugs, stainless steel sink, resin mosaic, metallised frame, bike ramp, dog leash, watertanks and pumps. Courtesy: the artists. Commissioned and produced by the Athens Biennale. Photo: Nysos Vasilopoulos

KAYA, _ OraKle Painting 01, 02, 03 (Catacomb Mirrors), 2018. Plexiglas sheets, wishes by children, paint, transducers, speaker cable, Mp4 players. Sound by Nicholas An Xedro. Courtesy: the artists and Deborah Schamoni. Photo: Nysos Vasilopoulos

“ECLIPSE” responds to the chaotic present – a world politically divided and spiritually devoid. Here are Spike’s top picks, in pictures. 

 Jakob Kudsk Steensen, Aquaphobia (2017). Courtesy of the artist. Installation view from Athens Biennale 7: "ECLIPSE". Photo: Nysos Vasilopoulos

Jakob Kudsk Steensen, Aquaphobia (2017). Courtesy of the artist. Photo: Nysos Vasilopoulos

This year’s Athens Biennale is filled with art that foregrounds care – but are these heartfelt works at odds with their crammed (and heavy-handedly critical) surroundings?

 Balenciaga Spring ’22, Look 64: “Demna”

Balenciaga Spring ’22, Look 64: “Demna”

Are we human, or are we content? Dean Kissick ponders Demna Gvasalia, Donda, the cult of celebrity, and the actual occult in this month’s Downward Spiral.

 Sandra Mujinga,  Stretched Delays   (I),  2017. HD video, 13'

Sandra Mujinga, Stretched Delays (I), 2017. HD video, 13 min.

Sandra Mujinga was recently awarded the prestigious Preis der Nationalgalerie 2021. To celebrate this honour, we’re releasing Jeppe Ugelvig’s portrait of Mujinga from Spike #56: CULTURE WARS from our print archive.

 Sara Sadik, Khtobtogone  (2021). Courtesy of the artist and Crévecoeur, Paris

Sara Sadik, Khtobtogone, 2021. Courtesy: the artist and Crévecœur, Paris

Is acceleration all it’s cracked up to be? Spike editor Adina Glickstein motors to Munich for a survey of art that critically reflects on the need for speed.

 Seth Price, “Zero Bow Childreeen” (2021) LP front cover

Seth Price, “Zero Bow Childreeen” (2021) LP front cover

Turn up the volume on Spike's latest artist's edition, an original LP and 30 unique prints.

Andra Ursuta, Predators 'R Us (2020). Photo: Dario Lasagni. © Andra Ursuta. Courtesy the artist and David Zwirner

Giving new meaning to “fetish objects”, the Romanian-born sculptor salvages the by-products of late capitalism, fashioning trash into marbled pastel mementos mori of consumption.