Rem Koolhaas

Discourse
Shoveler Duck from Birds of America (1827) by John James Audubon, etched by William Home Lizars

Shoveler Duck from Birds of America (1827) by John James Audubon, etched by William Home Lizars

The Downward Spiral: Animals

For his first column of the new year, Dean Kissick finds solace and good omens in ornithology. The future looks not altogether unpromising.

Discourse
Composite photo of swifts in flight in late summer

Composite photo of swifts in flight in late summer

THE DOWNwARD SPIRAL: FALL

DEAN KISSICK’s latest column is an ode to the coming fall, where New York is struggles to bring normalcy back into play. But when was New York ever normal?  

Discourse
Guggenheim Museum, New York, Countryside: the Future

Rem Koolhaas and Samir Bantal, “Countryside, the Future”, Guggenheim Museum, New York

The Downward Spiral: The Countryside

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. 

People
Rem Koolhaas's Seattle Central Library

Rem Koolhaas's Seattle Central Library

Out of State

A Summer Chronicle, part 8: NATASHA STAGG concludes her summer column on an ambivalent note, reviewing Richard Linklater’s Where’d You Go Bernadette. 

Discourse
The Dadaists audience: themselves,  Berlin 1920 Opening with Hannah Höch, Otto Schmalhausen, Raoul Hausmann, John Heartfield mit Kind, Otto Burchard, Margarete und Wieland Herzfelde, Rudolf Schlichter, Ludwig Mies van der Rohe (?), Unbekannt und Johannes Baader

The Dadaists audience: themselves, Berlin 1920

Opening with Hannah Höch, Otto Schmalhausen, Raoul Hausmann, John Heartfield mit Kind, Otto Burchard, Margarete und Wieland Herzfelde, Rudolf Schlichter, Ludwig Mies van der Rohe (?), Unbekannt und Johannes Baader

The Professionals

The field of art is considered to be free, open and accessible to everyone. In reality, no outsiders have been spotted here for a long time. Does “art audience” today really only mean people who have an (economic) interest in the art world? Is anyone immune to the half-drunk advances of its warped social economy? Are we all alone? With these questions in mind, our reporter Elvia Wilk went from Berlin to Venice to the hotspots of this summer's art viewing and asked people.