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From wood-grain negatives and make-believe tchotchkes to Wuhan punks and haunted islands, Ophelia Lai highlights the 7 best exhibitions in the Chinese capital.
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.
The largest-ever retrospective of a living artist at New Museum, New York charts Wangechi Mutu’s turn from the material resonance of found-object collages to the easy symbolic iterations of bronze sculpture.
The melancholy muse, glitchy machinimas, and plenty of Super 8: The 69th Oberhausen Short Film Festival mined the space between arthouse and art world for new and archival gems.
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.
Mak2, Home Sweet Home: Love Pool 6, 2022, oil and acrylic on canvas in three parts, each: 205 x 122 cm; overall: 205 x 366 cm. All images courtesy: the artist and Peres Projects
In triptychs of hot-and-heavy bodies at Peres Projects, Berlin, Hong-Kong-based artist Mak2 materializes the tensions of synthetic desire and our urges to gawk and look away.
“Fashion is the future, clothes are what we already wear.” In her May column, Joanna Walsh ponders how fast fashion’s accelerationism plays with seasons, desire, and the virtual, projecting us into an elsewhere we’ll never venture into.
