Not another article about Kyiv as the new Berlin! On the occasion of the Future Generation Art Prize, Alexander Scrimgeour wonders about how the twentieth-century phenomenon of international contemporary art changes under the pressure of good old-fashioned geopolitics.
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?
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.
The artist Constant Dullaart has a dream to come true. Curator Toke Lykkeberg wants to show the world how it really is. One has founded a company, the other has brought an everyday commercial aesthetic into the Musée d’Art Modern de la Ville de Paris. What role do artists play in start-up culture? Are we experiencing a rematerialisation of the art object?
U., the (anti-)hero of Tom McCarthy’s new novel Satin Island, is a 21st-century Man Without Qualities. This “corporate anthropologist” has been given the job of writing the “Great Report” – the “First and Last Word on our age”. The ambition is similar to the task faced by artists today, the near impossibility of mapping the contemporary landscape. What forms can resistance take, if it is even still possible? Spike’s editor-at-large Alexander Scrimgeour talks with Tom McCarthy and curator Nicolas Bourriaud.
If techno had its origins in the industrial sounds of Motor City, what sort of music corresponds to the screen-mediated environment we live and work in today? Maybe the haunting, radically anti-escapist collages that have brought Holly Herndon to fame since her debut album Movement in 2012. Listening to Herndon’s new album Platform, Alexander Scrimgeour considers our changing relationship with machines.
Last weekend, dancer and choreographer Boris Charmatz hypothetically transformed Tate Modern into Musée de la danse. Our editor-at-large was harbouring some reservations about this new democratic participatory art, but found it surprisingly moving.