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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.
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.
Substack bloggers, Soundcloud rappers, and podcasters cull transient strangeness from the corners of the internet in a new kind of archive, epitomised by the entity that calls itself Angelicism01.
What happens when propaganda pushes post-truth directly onto the battlefield? Milena Khomchenko, a writer from Kyiv, reflects on the “informational front” of the war in Ukraine.
Assemblage art, post-punk, parties, laundries, and literal trash curated with love. Artist George Egerton-Warburton pens a guide to the Melbourne art scene.
Stephanie Bailey visits Saudi Arabia’s first contemporary art biennial – helmed by a curator borrowed from Beijing – as connections between the Chinese and Saudi scenes, and intriguing geopolitical questions, come into view.
A wave of figurative paintings, by black painters and focused on black subjects, has spawned a ubiquitous new style – but has market pressure pushed artists’ radical intentions into something more palliative?
What’s hot for 2022? Clinical – institutional, terminal, quasi-medical – horniness. Libido with surgical precision. Latex, gore-tex, aphrodesiacs and anesthetics. Cara Schacter reports from the runways of Eckhaus Latta and beyond.
Whether you’re totally pilled or an adamant no-coiner, you’ve probably noticed that Web3 has a lexicon all its own. We’ve put together a guide to some of the insider jargon to help you navigate this wild world. Fear, uncertainty, and doubt no more.
Nadiah Bamadhaj, Casting Spells for the Movement (Merapal Mantra untuk Gerakhan), (2021). Installation view from the 2021 Jakarta Biennale. Courtesy: Jakarta Biennale
At the Jakarta Biennale, critical engagement should be evaluated not only through the art on display, but through the invisible forces that permeate below the threshold of vision. How does air – and the control of its circulation – index the political condition of being alive?
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?
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.
It’s September. When the kids go back to school, what do the adults return to? Tradition? Seasonal basics? Cyberstalking like it’s the early aughts? Natasha Stagg reflects on summer’s wind-down for the final Out of State of 2021.
Collecting a decade’s worth of digital fragments for their ongoing net art project, two Palestinian artists splice, sample, and superimpose new modes of memory from the ephemera of online life.
Why does film – an art form built on stardom, visual pleasure, and control – have such a persistent sexual misconduct problem? It's an industry full of either monsters or geniuses, depending on who you ask.
With an uptick in breakthrough cases and breakups, what’s left in New York? The shambles of the Astor Place Kmart, some piecemeal conspiracy theories about who controls it all – models, probably – and the Friends Experience (not to be confused with having friends).
Good poetry and graceful aging might be casualties of the reality TV era, but at least we can all star in our own private dramas – or opt out and gossip anonymously.
From cult classic to Cannes, Abel Ferrara is the uncancellable auteur par excellence. Natasha Stagg settles in with the popcorn to muse on his silver-screen retrospective.
In unseasonably California (home of Joan Didion and serial killers galore), Natasha Stagg considers the perils of America's increasingly confusing corona-culture.
As cinemas reopen and "immersive" art experiences flood New York with their competing ads, Natasha Stagg wonders if we've lost the plot. Is reality still our north star, or has it been eclipsed by a collective fiction?
These days, you can monetize anything, or so the Internet has us believe. Natasha Stagg has a secret talent that might be profitable, if only she would stop giving it away for free.
Even in a summer of change, some things remain the same. NATASHA STAGG’s column is back. This week, for the first installment, she observes that certain constants – like FOMO and self-delusion – are here to stay.
Liquid silk, pearl jam, primordial soup ... whatever your euphemism of choice, it's undeniable that we all come from it – so might as well make light of it, like Marlie Mul.
The Austrian writer Friederike Mayröcker, born in 1924, and sadly passed away today (4 June), has written dozens of highly acclaimed books of poetry and prose. Her works are occasionally accompanied by her own drawings, sketches of floating figures with handwritten captions. The following excerpts are from a series of conversations between Hans-Ulrich Obrist, Sarah Ortmeyer, and Friederike Mayröcker, who drew as they talked about her writing routine and the price of a life dedicated to literature.
Exhibitions are frequently deemed “overdue”, but perhaps nowhere is it as true as with the first retrospective of Lorraine O’Grady, the 81-year old trailblaizer of feminst performance art, which opened at the Brooklyn Museum last month. Isaac Jean-François on her expansive, celebratory work.
View of Ryuichi Sakamoto, Shiro Takatani, LIFE-WELL, 2013, fog, 5-channel audio, LED light, motorised mirror, camera at M Woods (Original Development: Yamaguchi Center for Arts and Media).
A construction worker plunged to his death in early March while installing Ryuichi Sakamoto’s latest exhibition on the roof of the M Woods Museum in Beijing. Spike Contributing Editor Jaime Chu on the aftermath.
With the country still in lockdown, three Vienna galleries – Emanuel Layr, Croy Nielsen, and Sophie Tappeiner – came up with a new format for an art fair set in the conference halls of a popular hotel in the Austrian capital.
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.
In her new column, KAITLIN PHILLIPS gives us a few anecdotes about hot dog eating, boys who overvalue Continental Philosophy, and what happens when your friends start to hate you. What more could you ask for?
New York’s art world is filled with careerists, but it is also filled with those who consciously moved away from the art machine. E’wao Kagoshima, nearly eighty years old, falls into this latter category, a painter who brings his brush with him everywhere he goes, treating the city as his canvas and marketplace.
We’re saying farwell to NATASHA STAGG’s weekly column, and with it too, the summer, and maybe even the idea of a future where the nice guys don’t finish last.
In her newest column, KAITLIN PHILLIPS gets to the heart of what really matters, like: Do you own a manual pencil sharpener? And is it safe to open the windows again? And do you like your parents? Read on for answers to these and other burning questions.
Out Of State (part 8) is back in New York, and there NATASHA STAGG wonders about the future of the restaurant biz and all of the people that used to flock to the Big Apple for the good eats and parties. Did we see this coming?
Get your black spandex tights and head down broadway musical memory lane with NATASHA STAGG in her seventh installment of OUT OF STATE. After the curtain drops, there's still New York behind any rendition of "New York, New York." Which is your favourite?
This week, the OUT OF STATE (No. 6) train is headed to Baltimore, once home to the inimitable Divine, muse of many a John Waters' flick, and now site of his final resting place. Pilgrimage to the grave, and a few musings on the plight of Cancel Culture, are on the menu. Just no dog shit.
Get OUT OF STATE (No. 5) with Natasha Stagg this week, where she follows the great exodus from New York (at least for a weekend). But beware of Lyme disease, weird neighbourly hymns, and the countryside's glacial pace when it comes to motivation.
The US, Germany, and the world have a Swiss cheese consciousness about history: filled with holes. No righting the ship here, just some stories, and jokes, and some more jokes.
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.
Is there such a thing as Deleter’s Remorse? NATASHA STAGG’S fourth column sifts through the aftermath of her deleted Instagram account, and all of the things she misses – and doesn't miss – about the social media giant. Who knows? Maybe she'll create a Finsta profile now in its place.
NATASHA STAGG’S third column focuses on speech acts, and the elected officials who seem incapable of delivering them with any eloquence. As the US just celebrated the 4th of July, maybe the fireworks will do a better job of speaking for New Yorkers than the old dudes behind a podium.
NATASHA STAGG’S second column gives us another snapshot of New York in the midst of a struggle between justice for its citizens and the desire to pose for a close-up. Spoiler alert: Stagg has parted ways with the selfie-behemoth, Instagram, in the process of writing this.
To varying degrees, many of us now know the feeling of being trapped indoors, whether because of lockdown or fear of infection or transmission. As Lonely in Shanghai turns to Grindr and internet porn, the line between imagined and actual encounters starts to become blurry and dream life feels as real as anything else. By ALVIN LI
Summer is here, so let’s go out of state! Frequent Spike contributor and New York denizen, NATASHA STAGG, is back with a weekly column for the remainder of the warm season. In her first of the series, Stagg talks about branding, policing, and the endless stream of images that fill our screens and our squares (the big ones).
DEAN KISSICK is in search of lost rays of the sun, in paintings. There is a certain kind of light, and it still seems to show on Proust, Vermeer, and kitties?
The countryside is synonymous with the desires for escape, health, self-sustainability, and many other things that might well describe the current mood under the threat of corona. DEAN KISSICK weighs in on one exhibition that presents the nether reaches as just that: somewhere far away.
With the dawn of a new decade comes the possibility that all could start over, be good again. DEAN KISSICK takes us on a journey in search of exhiliration in art, theatre, and elsewhere. Follow his trek from Mexico to New York, out of the glum and into glam and glee.
Now Zero has been a staple at Spike online, but now, fittingly alongside Brexit, we also bid farewell to Ella and her column. Fear not, Ella will continue to scrawl across the walls of Spike’s print pages, and there will be others to take her spot, though not her place. You’re not reading it properly unless you click through and play all the links at once.
In the beginning there was energy, matter, and light. But the most important element in human evolution could have been the kiss of fire that propelled human evolution forward and set the stage for the mother of all arts: cooking. Austrian filmmaker Peter Kubelka talks to Asad Raza about a life in film and how the art of cooking isn’t hard to master.
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
Kristian Vistrup Madsen reviews “Desertado. Algo que aconteceu pode acontecer novamente” (Deserted. Something that happened may happen again) and braves the desert landscape of fiction and memory, finding it remarkably fertile
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.
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
Tired of all the GoT takes? For her May column, Ella dives into a fish tank and digs into mystical poetic botany in her mother's garden, the Black Forest and at the Serpentine's latest symposium. What is planted may never die.
This month Ella Plevin slides her way in and out of “thin places” and finds that there’s plenty of nothing to think about (except the number sixty-four).
For this month’s column, ELLA PLEVIN visits “Life Death Rebirth” at the Royal Academy of Arts and London's Wearable Technology and Digital Health Technology Show
An interview with curator Marco Scotini about multiculturality and biodiversity as traces of the ancient Silk Road, how to exhibit eco-artistic practices today and the liberation of the biennial format. By Christian Kobald
A Reading with Carly Busta, Bianca Heuser, Lily McMenamy, Ella Plevin, Sybil Prentice, Emily Segal, Colin Self & Natasha Stagg at Spike Berlin / 25 September, 2018
Where do we stand in Europe today, as it drifts further and further to the right? We asked cultural figures from four countries about the influence of the political right on the arts. By Schorsch Kamerun, Karol Radziszewski, Eva Blimlinger and Gergely Nagy
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
A pioneer in uniting the avant garde of art with fashion, Elsa Schiaparelli created The Tears Dress with Salvador Dalí in 1938. The celebrated dress offered a violent, inventive glamour that foretold the horrors to come. By Ella Plevin
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
Three of the food technology industry’s avant-garde – Todd Huffman, Ryan Bethencourt and Jayar La Fontaine – talk with Andrew Berardini about our lab-grown diet of the future
Jordan Wolfson Real violence, 2017, (Installation view) Virtual reality headsets, high-definition video, color, Sound; 2:25 min. 2017 Whitney Biennial ( March 17-June 11, 2017). Collection of the artist; courtesy David Zwirner, New York, and Sadie Coles HQ, London.
This has been a year of disappearing statues, but what will become of all the defaced idols and broken images? Dean Kissick on why iconoclasm is back and what we can do about its aftermath.
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
Camille Henrot, Buffalo Head: A Democratic Storytelling Experience performed by Amira Ghazalla with the participation of Jacob Bromberg, David Horvitz, Maria Loboda and Milovan Farronato. Adapted from Italo Calvino’s folktale of the same name Photo: Giovanna Silva Courtesy Fiorucci Art Trust, London
Mural by Camille Henrot Installation view "I Will Go Where I Don’t Belong" Photo: Giovanna Silva Courtesy Fiorucci Art Trust, London
Walter Sutin, Augury, 2015 Pen and Ink, 37 x 28 cm Installation view "I Will Go Where I Don’t Belong" Photo: Giovanna Silva Courtesy Fiorucci Art Trust, London
How can theory have an effect on the world? Armen Avanessian’s answer would be: only by making it go faster. With books and conferences on Accelerationism and Speculative Realism, as well as his participation in an art film earlier this year, he has attempted to free philosophical thought from the narrow bounds of the academy and bring the Left up to speed with financial capitalism. Why does he find the art world so appealing?
Fulvia Carnevale, part of the Paris-based collective Claire Fontaine, and theoretician Rory Rowan, have a number of complaints. Art is increasingly becoming a job, there is too little time left for thinking, and artists have to act like rock stars to please collectors. Is there still hope?
Swiss artist Hannah Weinberger has no studio, and if she started to want one, she says she would rather "stop doing art and open up a bakery". Here, the artist describes her itinerant practice, objects that inspire her, and the influence the birth of her kids has had on her work.
Cady Noland is a prime example of exit from the art world, yet her work from the 80s and 90s about the violent sides of America remains eloquent. This is Tanya, titled after the nom de guerre of William Randolph Hearst’s granddaughter, who was kidnapped by the Symbionese Liberation Army in the mid-70s and joined the group.
Now that the human is no longer central to history – replaced, instead, by networks and systems – we need to reconsider the old question “What is to be done?” It’s never been harder to make your own rules for how to act. How to continue? Acceleration or exit? Lars Bang Larsen thinks these are false alternatives and searches for new, fluid forms of action.
Figures fall chaotically, cranes take flight, half-rendered dogs roam around threadbare computer-game landscapes. No matter how long you watch Ian Cheng‘s video installations, the logic of what‘s happening remains out of reach. The artist himself doesn‘t know how his simulations are going to turn out. He merely sets the parameters: a virtual ecosystem and characters whose actions are partly scripted and partly determined by chance. These works seem to circle around themselves, which raises several questions. Gianni Jetzer met up with the New York-based artist for an interview.
Stones to throw | 2011 | Installation, mail and public art project; painted stones, plinths, photographs, FedEx bills | views from streets of Diyarbakir | Courtesy of the artist | Photographs by Askin Ercan
In November 2015, president Recep Tayyip Erdoğan’s AKP party unexpectedly won an outright election victory. Since then, activists, artists, academics, journalists and, indeed, anyone raising their voice to criticise government policy has faced persecution and arrests. We spoke to artist Ahmet Öğüt about the current situation of artists in Turkey and the limits of artistic protest.
Dean Kissick discusses the shifting value of the term “artist” in our current state of global affairs and the complicity between Comedien Nathan Fielder and political figures from Donald Trump to Vladimir Putin.
The perfectly crafted, deeply unsettling films of Omer Fast revolve around the traumatic experiences of refugees, soldiers returning home from war and drone pilots. In a constant interplay of immersion and alienation, they turn filmic illusion against itself.
What if you can’t see an event? First of all, it doesn’t matter: anthropocentrism is out and it’s time we accepted that there are events that have nothing to do with humans being around to witness them. Benjamin H. Bratton talks about Google’s Nest, buying a can of corn in the supermarket, and the big question of scale.
Where are the best places to have Lunch and Dinner in LA? In which cocktail bar will you meet Kenneth Anger? Which beach has the best surf? Martha Kirszenbaum tells us where to go if you have some time off from Art Los Angeles Contemporary and Paramount Ranch this weekend.
Status Quo Art School. How do art academies change in the course of a world run by a liberal-minded creative industries? How should art schools respond to the financialisation of higher education? Can art schools maintain their autonomy as sites of independent teaching and learning? In the first of a series of pieces tackling the future of art education to be published on Spike Online in the coming months, Chloe Stead writes on the student activists of Free Cooper Union and on protest as a learning experience.
Spike’s current editorial intern is angry. The art world doesn't pay its assistants and interns, so in her other life Chloe Stead serves burgers. She has found allies in artists and activists who oppose the culture of unpaid work and calls on us all to do the same.
Originally envisioned as a survey show of emerging artists, the fourth instalment of “Greater New York” at MoMA PS1 changes tract and raises the average artist age to a getting-on-a-bit 48. Through the more mature positions the difference between old New York and the “Post-Bloomburg iteration we’ve inherited” becomes startlingly clear. Musing on the inclusion of videos of drag performers by Nelson Sullivan and the cruising photographs of Alvin Baltrop, our writer gets nostalgic for the salad days of NYC.
Rrose Sélavy, Vern Blosum, John Dogg: Why do artists create alter egos or hide as collectives behind made-up characters? Martin Herbert traces the figure of the fictional artist over the last hundred years and discovers a reflection of the art world’s changing face. Sometimes one identity just isn’t enough.
Why does the art of today often seem to exist in a historical vacuum? What is the significance of art history for post-Internet art? Is our sense of history changing because of the accelerated circulation of images, money and data? Where does this leave the art object? At Spike’s new space in Berlin, Kolja Reichert moderated a discussion between artist and essayist Hito Steyerl, art historian Susanne von Falkenhausen, and two of the four curators of the 2016 Berlin Biennial: Lauren Boyle and Marco Roso from the collective DIS.
Since this summer everybody knows that Yanis Varoufakis is a principled idealist, that his wife is an artist, and that he drives a motorbike very fast.
The photographs of the young Polish artist reflect the conditions of selfhood in the era of the Instagram. Within a spectrum of mistakes, she discovers the tender, vulnerable body.
Contemporary abstraction borrows blindly from art history, all looks the same and works particularly well if you hang it over the sofa - this is the reproach at the heart of Walter Robinson's idea of "zombie formalism". But maybe art criticism has just forgotten how to look closely. Travis Jeppesen defends abstract painting against its opponents and hits the ball back into their court: it's time for critics to reengage with their subjects and find a new language for painting.
One month ago the French Minister of Culture dismissed Nicolas Bourriaud from his post as director of the École Nationale Supérieure des Beaux-Arts, in an astonishing decision that caused a storm in French - and international - media, replete with rumors of high-level intrigue and allegations of nepotism.
Now Bourriaud tells his version of events. What did the renowned curator and theorist's dismissal have to do with Ralph Lauren? How come the students couldn't work in their studios for six days beforehand? And what are his hopes for the future of the institution?
In March this year I visited the artist Simon Denny in his Berlin studio. It was four weeks before his first US solo show (at MoMA P.S.1) and a few more weeks before the 56th Venice Biennale, where he was one of the youngest participants to represent New Zealand, with an exhibition in the Biblioteca Nazionale
From Donald Trump to Rihanna, True Detective, and 50 Cent: this summer a new theatricality has become evident in American culture. The congruence of camp and violence has given us Young Thug, a rapper who calls his guns “dicks” for reasons nobody knows.
Daniel Baumann on the work of British artist Sarah Lucas, how her pieces were aimed at adverse presentation, how Penetralia moves away from that, and the newest sculptures, NUDS, appear to completely break away.
Many people are anxious that the growing class divide in the art world and the succession of record-breaking prices paid for contemporary art endanger the belief system supporting it. But why is nobody worried about money itself? Isn’t what happens at an auction that money celebrates its freedom, its release from the burden of being a means of comparison? Is art the new money? On a currency that lives from the bank of the gaze, into which we all make payments.
When the Vienna Actionists urinated, masturbated, and vomited at an event titled “Art and Revolution” in Vienna University’s Lecture Hall 1 in 1968, the proceedings were accompanied by a lecture on the relationship between speech and thought by the then thirty-two-year-old Oswald Wiener. One year later his literary montage die verbesserung von mitteleuropa, roman (the improvement of central europe, a novel) was published. With its excurses on linguistics and cybernetics, it now reads as an astonishing foreshadowing of the Internet and virtual reality. Later, Wiener turned to the figure of the dandy, who maintains his difference from machines by cultivating a practice of self-observation. Hans-Christian Dany visited him at his home in southeast Austria to talk about the peculiar standstill of art and science in the digital age.
Writing about art never happens in isolation. In his latest column from London, Oliver Basciano drops the facade that does. This time the critic has serious problems with his house. He saw three exhibitions in Peckham but couldn't resist thinking about DIY.
During the summer months Timo Feldhaus visited major art events in Cologne, Vienna and Basel, as well as Berghain in Berlin. Everywhere he found the same things: a need for immediate bodily experience and intensity; viewers looking to art for kicks; exhibitions that made no effort at subtlety but sought to hit everyone openly in the gut; and a refashioned performance art, adapted to suit our daily compulsion to perform.
Romain Gavras is a willfully confrontational filmmaker whose work in commercials and music videos antagonize the near-mystical underpinnings of consumer behavior. They provoke a divided consciousness that posits personal identity not as a driver of consumption, but as the very limit of consumption – a synthesis of seeking behavior and autocentrism that aims to initiate personhood at any cost. His first movie, Our Day Will Come, follows an introverted, latently agitated teenager and a deviant analyst as they evacuate their antisocial desires along a foggy French coastline.
In the last years, the art world fell in love with live and time-based practices. Since then, a lot has been said and written about performance and performativity, but too little time has been given to listen to those whose work has been stretching the tight disciplinary confinements that shape dance, performance and visual arts. That is what Filipa Ramos sought to do in asking the Swedish performance-related artist-dancer-choreographer-producer-writer Mårten Spångberg to give us his thoughts on four concepts: Space, Rhythm, Expectation and Embodiment. The result of this encounter can hardly be described, as ideas, concepts and words sprang out all over the place without restraint and with such overwhelming speed that capturing it in writing was a performative feat in itself.
He has become famous as a »cooking artist« – a misunderstanding that has almost concealed the real questions raised by his work for the past twenty years. Via email, Raimar Stange spoke with Rirkrit Tiravanija about this subject and the always-surprising way that the artist has read Western culture against the cultural attitudes of his homeland, Thailand.
At what point does critique become collusion? Does the visualization of a network, a corporate ideology, or an advertising slogan assimilate the viewer into its logic? Critical and complicit by turns, Simon Denny works with academics, corporate entities, and re-found institutions, as well as with artists then and now. His installations archive, subsume and re-visualize their structures and methodologies. Pablo Larios explores how the Berlin-based, New Zealand-born artist reformulates questions of form and representation in his material excavations of current paranoia and progress.
The idiosyncratic, low-budget productions of Austrian filmmaker Daniel Hoesl narrate exemplary disruptions and upheavals with mischievous and post-heroic defiance of standardized milieus. Following eight shorts, Soldate Jeannette is the media arts graduate’s first feature-length film. The film, which has won international awards, revolves around two women, each running away from something, who meet at a countryside bowling alley: Fanni, who hails from the upper middle class, is broke and seeks to escape the strictures of a life ruled by money; Anna, the younger woman, can no longer bear the machismo on the farm.
![Jakob Kudsk Steensen, Aquaphobia (2017). Courtesy of the artist. Installation view from Athens Biennale 7: "ECLIPSE". Photo: Nysos Vasilopoulos](https://www.spikeartmagazine.com/sites/default/files/styles/medium/public/users/shared/articles/images/steensen_photo_nysos_vasilopoulos.jpeg?itok=OoB0IzzF "Jakob Kudsk Steensen, Aquaphobia (2017). Courtesy of the artist. Installation view from Athens Biennale 7: "ECLIPSE". Photo: Nysos Vasilopoulos")
![A pre-Covid Kailtin says, "Stop!"](https://www.spikeartmagazine.com/sites/default/files/styles/medium_square_400/public/users/shared/articles/images/bildschirmfoto_2020-08-19_um_17.07.34.png?itok=tgsUDVUg "A pre-Covid Kailtin says, "Stop!"")
