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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
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.
