Introducing Artyčok.tvAn interview with Fannie SosaMenna Cominetti, <i>Woozee</i> (2015) exhibition photos<i>After The Eclipse</i> @ Flutgraben e.V. reviewedAda Karczmarczyk: ‘Medium’, p.1Steven Warwick, <i>REENGINEERING VILLA AURORA</i> (2015) audioMonira Al Qadiri: Portraits of the End of the World, p.2<i>X is Y</i> @ Sandy Brown reviewedMonira Al Qadiri: Portraits of the End of the World, p.1The alternative art space of 57 CellAntoine Renard, <i>Jurassic Haze</i> (2015) exhibition photosAn interview with KT SpitAndi Schmied’s <i>Jing Jin City</i> reviewedCarl Palm, <i>MR MF: AD / HD & BY E</i> (2015) exhibition photosA survey of some art in HelsinkiAndrea Crespo @ Kraupa-Tuskany Zeidler reviewedMy First Movie: a film by + chat with Goth TechAiden Morse + Anna Crews, <i>Quiet Enjoyment</i> (2015) exhibition photosAn interview with LoticMartin Kohout, ‘Sjezd’ (2014) video

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  • Curated by Hana Janečková,  I turn the images of my voice in my head is a monthly critical programme of recent feminist moving image practices (selected exhibition photos, top right), hosted by Czech-run online contemporary art platform Artyčok.tv and established by the Academy of Visual Arts, Prague. The series follows a resurgence in interest in Feminism and offers a space to showcase work by artists with diverse perspectives on the subject. Allowing for what Janečková herself describes as a “sharing of feminist strategies across cultural contexts”, the artists and their output already exhibited on the site follow ideas around “technology, language, labour and identity”. They include the likes of Julia Tcharfas and  Chooc Ly Tan‘s Wild Nature,…

  • Fannie Sosa likes to wear a lot of different hats. Though, in some ways, they’re all the same hat worn in a different light. The Argentinian and Black-Brazilian artist is routinely described as a lot of different things —a dancer, an activist, a teacher, an academic. When I ask, via Skype —morning-fresh on Rio time and sprawled across a bed, wearing bright red lipstick and hair tied up high on her head —how she would introduce herself, she laughs. “That’s a really good question.” What she settles on, and what the myriad of different titles stem from, she tells me, is the notion of a curandera—a healer.
    How she heals,…

  • Showing for one night only at Lima Zulu on February 6, London-based artist Menna Cominetti‘s Woozee (exhibition photos, top right) presented a tactual exhibition of items you can look at but can’t actually touch, past the cycle racks and in the front room of the London space. A plaster-mould backpack, dusty-blue cap, knee-pads and coffee cups lie cast and crumpled on the floor and affixed to its white walls above wooden floorboards and over hand-scrawled and reprinted gestural illustrations of hands, arms, body parts, scribbles.
    Menna Cominnetti, Woozee (2015) @ Lima Zulu. Courtesy the artist.
    It’s an act of half-delirious self-expression that the 2014 Bloomberg New Contemporaries artist produced in what Cominetti herself describes as an “ungenerous mess” of…

  • Some of us, who either were too young or too unfazed to remember the last total solar eclipse, expected the earth to get completely dark while the moon passed between us and the sun.  Rather than complete blackout, we noticed a slight change in directness of the sun’s rays. For the evening of performances and readings on at Berlin’s Flutgraben e.V. on March 22, the organisers of After the Eclipse, Ebba Fransén Waldhör and Imri Kahn, perhaps dedicated the evening in this artist-run space to the astrological event, not in terms of the sublime, but rather as an ordinary moment of interference.
    Anna Zett begins the evening…

  • Set in the context of Poland’s (etc) ongoing ‘conversion’ to capitalism, this third video for the Money Makes The World Go ‘Round series, produced in partnership with arts digital production unit Video in Common(ViC), is part video-diary, part biography-cum-documentary by Polish artist Ada Karczmarczyk. Here she introduces her rationale behind a practice that includes blogging, performance, installation and online video. Karczmarczyk’s work is uncompromising in its foregrounded weaving of her personal experiences and belief, and the messages she hopes to articulate through both.

    Her work has been variously described as misinterpreted,  playing with ‘shame aesthetics’ and revolving around “identity creation via a short series of video performances her private…

  • For anyone familiar with Los Angeles, it’s a United States city that appears nestled at the epicentre of everything that’s true and toxic of modern civilisation. Dreamed into existence and bewitching in its potentiality, it’s a place of extreme wealth and greater poverty plunged into a duplicitous aura of Machiavellian enterprise and New Age mysticism. Berlin-based artist and producer Steven Warwick (aka Heatsick) seems to sense this, responding to a three-month residency in the affluent westside suburb of Pacific Palisades as a starting point for his installation-performance  ‘REENGINEERING VILLA AURORA’ (2015).

    Performed on March 14 at its namesake Villa Aurora and titled along with his 2013 Heatsick album release RE-ENGINEERING, Warwick ended his stay with a presentation of what the artist…