Reading Ryan Trecartin’s <i>SITE VISIT</i> @ KW<i>Neither</i> @ Seventeen Gallery reviewedTakeshi Shiomitsu @ Happy Times reviewedA mix from Exstasis RecordsSome highlights from <i>Space-Time</i> festivalMorag Keil @ Project Native Informant reviewedFabienne Hess, <i>Replica Sentiments</i> (2014) exhibition photos<i>Tabularium</i> @ Slopes reviewedSALT. Issue 6: <i>Manifesto</i> reviewedAn interview with Sophia Al-Maria<i>Stoneroses</i> w/ Center @ Grunewald reviewedAn interview with Iain Ball<i>Coded After Lovelace</i> (2014) exhibition photos + GIFs<i>The End of Love</i> @ New Theater reviewedEmails unfinished w Holly Childs + Max T.T. EdmondEmily Jones @ Lima Zulu reviewed<i>Phantom Limbs</i> (2014) @ Pilar Corrias exhibition photosRanda Mirza @ Archive Kabinett reviewedMatt Welch @ Vitrine Project Space reviewed<i>Thank You</i> @ Jupiter Woods reviewed

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  • Carpet, in dark hues, line surfaces and walls, ramps mimic isles and give rise to a sunken floor, short corridors and staircases transform spatial orientation and the gross artifice submits to the loud hush of an old-school cinema. The first thing to confront a viewer entering Ryan Trecartin‘s most recent work, curated for KW Institute for Contemporary Art by Ellen Blumenstein and Klaus Biesenbach, is a strong stink of petroleum newness. Some will follow the slim passageway straight into the projection area. Others turn into a dimmed room populated with brown leather “buttkickers” – vibrating recliners in an otherwise empty outer chamber. Around another…

  • For the inaugural show at Seventeen’s new space, gallery associate director and current curator-in-residence at LUX Tim Steer has selected three works that consider the mechanics of perception. Starting with a quote by phenomenologist Merleau-Ponty, Neither seems to be considering the eye as a tool, one that allows us to absorb experience as well as draft the ways in which we see the world “through the traces of a hand”. The works in the show each consider the production of seeing in strikingly distinct terms.
    Harun Farocki’s ‘Eye/Machine II’ (2002) is by far the most visually arresting of the three. A rapid-cutting video essay, it…

  • WASH is the inaugural show at Happy Times, the gallery space in Milcote House, and the walls are still raw in places. A thick seam of plaster runs down the far wall to the floor and disparate panels of rescued wood and board form an impromptu collage on one side. This, it seems, all part of the installation; a series of composite or material collages, Takeshi Shiomitsu’s paintings throw the patchworked space into relief and lend the provisional build – perhaps itself a product of Happy Times curator Matt Welch’s aesthetic – a formalistic quality. Two screens stand on their ends on the floor…

  • The loosely Mexico-based record label Extasis Records takes issue with my attempts to label it as Mexico-based. “I would like to establish something,” writes label boss Jack’ie Lo over email, “Extasis Records is an internet-located record label.” The founder herself is, according to her Soundcloud page, based in London, and the collective may be largely based in Mexico City IRL, but their URL bond is where the magic is: theirs is the sound of the over-stuffed, hyperactive live feed, with vaporwave and web 1.0-fetishising aesthetics applied to all the most manic and mismatched of trending sounds. They are (of course) hyper-prolific, but for an…

  • Everyone shows up on a bus from London – all genteel with takeout coffees and good manners, though they say it’s a different story at midnight when the party bus leaves Wysing Space-Time Festival for the city. The sun’s out, which is perfect and fortunate, and the setting’s idyllic: a proper modern-architectural art space in the middle of the Cambridge countryside. The program starts on the dot of 12 and I miss the first band because I’m sitting on a grass verge squinting in the sun and eating plums that fell out of a tree. It’s surreal and beautiful, and the various sculptural artworks…

  • Ten minutes walk from Project Native Informant’s converted garage project space in Mayfair is luxury department store Liberty. Opened in 1875 by Arthur Lasenby Liberty, over the past 140 years it has become a global household name, selling high-end homeware and fashion brands alongside its own-brand products. It has a history of working with notable designers like William Morris and Archibald Knox, and has been an important site for the advancement of design in the UK. The Liberty building on Great Marlborough Street is itself an iconic location – built in the 1920s in a Tudor revival style it’s an instantly recognisable building, and…

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