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 Still from Jeamin Cha, Nameless Syndrome , South Korea, 2022. © Jeamin Cha

Still from Jeamin Cha, Nameless Syndrome, South Korea, 2022. © Jeamin Cha

The melancholy muse, glitchy machinimas, and plenty of Super 8: The 69th Oberhausen Short Film Festival mined the space between arthouse and art world for new and archival gems.

 Mak2, Home Sweet Home: Love Pool 6 , 2022, oil and acrylic on canvas in three parts, each: 205 x 122 cm; overall: 205 x 366 cm. All images courtesy: the artist and Peres Projects

Mak2, Home Sweet Home: Love Pool 6, 2022, oil and acrylic on canvas in three parts, each: 205 x 122 cm; overall: 205 x 366 cm. All images courtesy: the artist and Peres Projects

In triptychs of hot-and-heavy bodies at Peres Projects, Berlin, Hong-Kong-based artist Mak2 materializes the tensions of synthetic desire and our urges to gawk and look away.

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

An exhibition of Xiyadie’s steamy papercuts at The Drawing Center, New York narrates his four-decade usurpation of a traditionalist folk form and a coming-out transition from shame to bliss.

 OMA, Hermitage Guggenheim, Las Vegas, The Venetian Resort Hotel, Solomon. R. Guggenheim Foundation, archival materials, 2000–01, and Flick House, Zurich, commissioned study, archival materials, 2001. All photos: Nelly Rodriguez

OMA, Hermitage Guggenheim, Las Vegas, The Venetian Resort Hotel, Solomon. R. Guggenheim Foundation, archival materials, 2000–01, and Flick House, Zurich, commissioned study, archival materials, 2001. All photos: Nelly Rodriguez

A group show at gta Exhibitions, Zurich calls into question local worlds left unbuilt, the worthiness of certain gifts, and museums’ credibility as storytellers of the cultures they serve.

 Margaret Raspé with camera helmet, 1971. Courtesy: the artist und Deutsche Kinemathek, Berlin. Photo: Heiner Ranke

Margaret Raspé with camera helmet, 1971. Courtesy: the artist und Deutsche Kinemathek, Berlin. Photo: Heiner Ranke

A video-first retrospective at Haus am Waldsee, Berlin, is charged with ninety-year-old Margaret Raspé’s untiring anger at the separation between art-making and domestic femininity.

 Still from Jes Fan, Palimpsest , 2023. All images courtesy: the artist and Empty Gallery

Still from Jes Fan, Palimpsest, 2023. All images courtesy: the artist and Empty Gallery, Hong Kong

In Jes Fan’s glass-and-resin sculptures at Empty Gallery, Hong Kong, a local pearl oyster embodies the island’s long-running struggle against the conspiracies of empire.

 View of “dellbrück,” Galerie nächst St. Stephan, Vienna, 2023. All images courtesy of Manfred Pernice and Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna. Photos: Markus Wörgötter

View of “dellbrück,” Galerie nächst St. Stephan, Vienna, 2023. All images courtesy of Manfred Pernice and Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna. Photos: Markus Wörgötter

At Galerie nächst St. Stephan, Vienna, Manfred Pernice is sculpting with a new name but a familiar hardware reptoire, heaping up double entendres from scraps during a new war in Europe.

 Nilbar Güreş, Mayzu , 2022. Courtesy: the artist and mumok, Vienna. Photo: Oliver Ottenschläger

Nilbar Güreş, Mayzu, 2022. Courtesy: the artist and mumok, Vienna. Photo: Oliver Ottenschläger

A group exhibtition at mumok, Vienna invited artists to pair their work with objects from the museum collection, briefly reversing the flows of power at the heart of modernism.

Views of Sanja Iveković, “Works of Heart (1974–2022),” Kunsthalle Wien, Vienna, 2022. All images courtesy: the artist and Kunsthalle Wien. Photos: Boris Cvjetanović

Tea Hacic-Vlahovic takes in 50 years of Sanja Iveković’s irreverent polymathy at Kunsthalle Wien, from fake-masturbating above Tito’s motorcade to publishing her mother’s poems.

 View of “Love Language,” Croy Nielsen, Vienna, 2023. All images courtesy: the artist and Croy Nielsen, Vienna. Photos: Kunst-dokumentation.com

View of “Love Language,” Croy Nielsen, Vienna, 2023. All images courtesy: the artist and Croy Nielsen, Vienna. Photos: Kunst-dokumentation.com

5☆ is back! Maximilian Geymüller drops by Croy Nielsen, Vienna to see Sandra Mujinga’s follow-up to her Preis-der-Nationalgalerie exhibition.

 Lion Attacking a Horse , 4th century BCE, pentelic marble. © Roma, Sovrintendenza Capitolina ai Beni Culturali. Courtesy: Archivio Fotografico dei Musei Capitolini, Rome

Lion Attacking a Horse, 4th century BCE, pentelic marble. © Roma, Sovrintendenza Capitolina ai Beni Culturali. Courtesy: Archivio Fotografico dei Musei Capitolini, Rome

The third exhibition in a research series on Greco-Roman antiquities at Fondazione Prada, Milan, uncovers the tears, sutures, and grafts of capital-H History.

 Joan Mitchell, No Room at the End , 1977, oil on canvas, 281 x 361 cm. © The Estate of Joan Mitchell. Courtesy: Fondation Louis Vuitton, Paris

Joan Mitchell, No Room at the End, 1977, oil on canvas, 281 x 361 cm. © The Estate of Joan Mitchell. Courtesy: Fondation Louis Vuitton, Paris

At Fondation Louis Vuitton, Barry Schwabsky asks if a side-by-side look at Claude Monet and Joan Mitchell does not incidentally reveal how little their work had in common.

 Senga Nengudi performing Air Propo at Just Above Midtown, 1981. Courtesy: Senga Nengudi

Senga Nengudi performing Air Propo at Just Above Midtown, 1981. Courtesy: Senga Nengudi

MoMA looks back on the New York gallery Just Above Midtown (1974–86), a hub for Black abstract and conceptual artists long omitted from the canon.

 Still from LuYang, DOKU the Self , 2022, 3D animation film, 36 min. All images © LuYang. Courtesy: LuYang and Société, Berlin

Still from LuYang, DOKU the Self, 2022, 3D animation film, 36 min. All images © LuYang. Courtesy: LuYang and Société, Berlin

New video works at Palais Populaire starring LuYang’s hyperreal, reincarnating avatar spell out their street-styled vision of mortal, spiritual, and virtual realms.

 Galli, oft sieht man die Zitrone kaum (Often, One Hardly Sees the Lemon), 1989, acrylic, emulsion and chalk on nettle, 150 x 180 cm

Galli, oft sieht man die Zitrone kaum (Often, One Hardly Sees the Lemon), 1989, acrylic, emulsion and chalk on nettle, 150 x 180 cm. All images © VG Bild-Kunst, Bonn 2022. Courtesy: Galli and Kraupa-Tuskany Zeidler, Berlin. Photos: def image

At Galli’s latest show with Kraupa-Tuskany Zeidler, Martin Herbert discerns a shift in the painter’s understanding of the body, from a site of conflict to a grounds for empathy.

 All images: View of “Die Sein: Para Psychics,” Ludwig Forum, Aachen, 2022. Courtesy: Kerstin Brätsch, Gladstone Gallery, Brussels, and Ludwig Forum, Aachen. Photos: Mareike Tocha

All images: View of “Die Sein: Para Psychics,” Ludwig Forum, Aachen, 2022. Courtesy: Kerstin Brätsch, Gladstone Gallery, Brussels, and Ludwig Forum, Aachen. Photos: Mareike Tocha

At the Ludwig Forum Aachen, Kerstin Brätsch’s colored-pencil drawings call on the goddess Inanna to complicate our hierarchies of interpretation.

Korakrit Arunanondchai / Alex-Gvojic, There's a world I'm trying to remember, for a feeling I'm about to have (a distractedpath towardextinction), 2016 /Blue-Star sightseeing boat

Korakrit Arunanondchai / Alex-Gvojic, There's a world I'm trying to remember, for a feeling I'm about to have (a distractedpath towardextinction), 2016 /Blue-Star sightseeing boat

Korakrit Arunanondchai / Alex-Gvojic, There's a world I'm trying to remember, for a feeling I'm about to have (a distractedpath towardextinction), 2016 /Blue-Star sightseeing boat

Roe Ethridge, Untitled (Not in the Berlin Biennale), 2016
 

(mood) 
 

Torbjørn Rødland, Hat on Fire, 2016

Jon Rafman, Bitsa Park (Bitsevski Park) Moscow, Russia, 2010
Archival pigment print on alu dibond, framed
Courtesy of the artist and Future Gallery, Berlin

Emma Charles, Fragments on Machines, Production still, 2013

 

“Nervous Systems – Quantified Life and the Social Question”
Installation view, The White Room
© Laura Fiorio / Haus der Kulturen der Welt

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.

Rachel Harrison at Kraupa-Tuskany Zeidler 

Rachel Harrison at Kraupa-Tuskany Zeidler 

Rachel Harrison at Kraupa-Tuskany Zeidler

Wolfgang Tillmans at Galerie Buchholz

 

Wolfgang Tillmans at Galerie Buchholz

 

Wolfgang Tillmans at Galerie Buchholz