With slap-in-the-face monuments, dances with buildings, and a water-gunning boy’s choir, steirischer herbst ’23 unearths Graz’s anti-fascist micro-histories while troubling the distinctions of oppressor and oppressed.
At Wonnerth Dejaco, Vienna, a presentation of erectile drawings and out-of-scale collages revitalizes Anita Steckel’s questioning of embodied gender and benchmarks the transformation of sexual politics between her heyday and the present.
In his latest painting exhibition at David Zwirner, Paris, Josh Smith’s expressive ambivalence gives way to a lyrical defiguration of sameness, as the self holds on tight through the world’s psychoses.
Tolia Astakhishvili, Our garden is in Bonn (detail), 2023. Installation view, Bonner Kunstverein, Bonn, 2023. Unless otherwise noted, all images courtesy: the artist and LC Queisser, Tbilisi. Photos: Mareike Tocha
How do you get rid of something you feel you need? Tolia Astakhishvili builds densely layered environments, populated by both sick and vital spirits, to prove how lack is necessary to inhabit our psychic “house.”
A blockbuster survey at MoMA, New York, lauds video art as a democratic counter to hegemonic power. But with AI usurping its witness function with endless content invention, is “Signals” actually the medium’s post-mortem?
Jeremy Deller, Warning Graphic Content, 1993–2021, and Rejected Tube Map Cover Illustration, 2007. Installation view, Kunsthal Charlottenborg, Copenhagen, 2023. All images courtesy: the artist; Art:Concept, Paris; and The Modern Institute / Toby Webster Ltd., Glasgow. Photo: David Stjernholm
At Kunsthal Charlottenborg, Copenhagen, three decades of Jeremy Deller’s films and prints catalogue the iconographic underpinnings of Britain’s mass-movement politics and the malleable ambiguity of pop fandom.
While his latest debut at Cannes, Asteroid City (2023) unspools a predictable plot with a familiar cast, the film’s stylistic precision reminds Nolan Kelly not to take a one-of-kind auteur for granted.
The largest-ever retrospective of a living artist at the 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.
Xiyadie, Sorting sweet potatoes (Dad, don't yell, we're in the cellar sorting sweet potatoes), 2019, papercut with water-based dye and Chinese pigments on Xuan paper, 140 x 140 cm. All images courtesy: the artist
Laura Poitras, ANARCHIST: Power Spectrum Display of Doppler Tracks from a Satellite(Intercepted May 27, 2009), 2016. Pigmented inkjet print on aluminum, 45" x 64-3/4" (114.3 x 164.5 cm). Courtesy of the artist.
Laura Poitras, ANARCHIST: Israeli Drone Feed (Intercepted February 24, 2009), 2016. Pigmented inkjet print on aluminum, 45" x 64-3/4" (114.3 x 164.5 cm). Courtesy of the artist.
Still. Laura Poitras, O’Say Can You See, 2001/2016. Two-channel digital video, color, sound. Courtesy of the artist.