The 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) videoAn interview with Beau Rice<i>Always Brian (TI AMO)</i> (2015) exhibition photosAn interview with Natalia Sielewicztransmediale 2015 reviewedViktor Timofeev’s <i>Proxyah v2</i> reviewedDenature, ‘out-scale’ (2015) audiovisual mix<i>C R A S H</i> (2015) @ New Scenario exhibition photosNoha Ramadan @ Tanztage 2015 reviewedIntroducing SW with their <i>SWAQNB</i> mix

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  • A publication but also a two-person exhibition, the Gregory Kalliche-curated 57 Cell features an artist’s work as consumed and produced across interfaces. Image is representation, whether on paper or in pixels, and constructions also exist off-screen. This is where 57 Cell’s fourth print issue, launched on January 23 at LA’s ROGERS gallery, aligns itself so comfortably with its two presentations –.dream without loneliness by London-based Cristine Brache and DEFEATURIZED SPECIMEN by LA-based Ian Page –as it blurs distinctions between platforms.
    The artists take seven pages each in the 14-page publication of computer-generated images presented in print with two front covers and no back in an egalitarian…

  • “Remembering the common source that binds us all…” writes artist Tore Wallert, in a press release text-poem introducing the Jurassic Haze exhibition, running at Berlin’s Center space, from December 19 to March 15. He’s one of seven contributors to the project that’s led by Antoine Renard and literally smeared with the creams and liquids that make up our contemporary experience, as envisioned through a “Dove lotion coating installation” that draws in a world of dirt and synthetics, augmented realities and screens of all sizes.
    Antoine Renard, Jurassic Haze (2015). Exhibition view. Courtesy Center, Berlin.
    A suspended watermelon rotates at the centre of a shifting circle on…

  • “…and I have wondered if I am cursed, because I am sad when nothing hurts, and when I was little, and when I was little I wanted to die with everybody watching and nobody crying.”
    Only Youtube statistics can tell how many times I have watched KT Spit‘s video Brenda Walsh, I’ve lost count. In my mind this music video belongs to the avant-garde, for the Melbourne-based performer, artist and musician who will be releasing her first solo album, Combulotion, at West Space on April 10, it is something of an accident. In the video, there is fragility about KT Spit, rolling around on her…

  • Jing Jin City is empty. It’s a large-scale luxury development that stopped, left to weather and dissolve along with its brochure promises of an “ideal life” in the “super garden with the area of thousand square metres” . That’s a rough translation from Chinese of the equally obscene opulence of this gated community trapped, along with its employees, in a limbo of incompletion. That’s where artist Andi Schmied and collaborator Lawrence Lek came across Jing Jin City in January last year, a development an hour outside of Beijing that boasts a five-star hotel, 3,000 villas and hardly any occupants.
    Andi Schmied, Jing Jin City (2015)….

  • If you don’t understand Spanish you’ll need a translator for the titles of Swedish artist Carl Palm‘s most recent exhibition MR MF: AD / HD & BY E (photos top right). Running over a month from February 14 to March 14 at Mexico’s Parallel Oaxaca, the show included just three wall-mounted sculptural installations titled ‘Espejo’, ‘Baño’ and ‘Toalla’ (2015), as in ‘mirror’, ‘bath’ and ‘towel’. They come displayed in a darkened room, lit only by the backlights of these oblong slabs of hardened clear resin glowing green, yellow and blue, and gripping their inner objects in suspended animation.
    Carl Palm, MR MF- AD / HD…

  • A complaint often registered by members of regional art scenes is the hegemony of western-centric aesthetics and ideas centred on its own creative capitals, essentially importing and exporting art in its own image. It’s a problem that’s mirrored in other global markets, where rather than offer a platform for growing local business as promised, free trade and networked connectivity only aids in the expansion of already existing corporate monopolies.
    As a London-based editor and writer visiting Helsinki, there’s a certain draw to the familiar that means any experience of art in Finland comes strongly coloured by that bias. Whether it’s in LA-based artist Amalia Ulman’s…