An interview with Rachel LordThe problem of Paddles ON!John Seal @ Kraupa-Tuskany Zeidler reviewedAn interview with Harm van den DorpelEd Atkins’ exhibition + performance @ Serpentine galleries reviewedJoe Banks, Disinformation + <i>Rorschach Audio</i> exploredBladee, <i>old swedish hardcore punk</i> mixNicolas Pelzer @ Future Gallery reviewedAn interview with Mat JennerSome highlights from START Art FairAn interview with Hannah BlackA bodily experience of Sónar<i>It’s been four years since 2010</i> @ Arcadia Missa reviewedLooking in on 4REAL: Slava Balasanov interviewedAndrew Norman Wilson @ Project Native Informant reviewedParker Ito @ Smart Objects reviewedAn interview with Kari AltmannAn interview with PWR studioAnn Hirsch @ American Medium reviewedExile’s <i> Das stille Leben…</i> reviewed

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  • “It’s very important to me that I be the change that I want to see in the world,” says Rachel Lord, quoting Mahatma Gandhi, as she explains her views on weed. The multi-discliplinary LA artist is full of surprises. This is why her recent debut solo show, Documental, closed with a lecture on marijuana laws by Professor of Public Policy Mark A. R. Kleiman (who has also unexpectedly joined in on our Skype call) and probably why she’s quoting Gandhi’s now-endlessly-re-blogged words to explain why potis essential to her install process.
    Lord is passionate about extending the art conversation beyond the confines of the art…

  • I’m underdressed. The realisation sets in as two door men dutifully pull open the heavy glass of the Howick Place entrance in London’s Victoria where Paddles ON! is holding its second “digital art” auction. The white walls of the reception area set the ominously neutral tone for what is more of the same upstairs, except for the Warhols and Basquiats that line them, while some appropriately attired people are cradling glasses of wine, eyeing up a Lucien Smith. I don’t think I’m alone in feeling weird as artists and onlookers, clearly not there to bid, wait outside for the 7pm start. It’s an evening…

  • Kraupa-Tuskany Zeidler is located on the fourth floor of the Pressehaus, an office building which houses several German media conglomerates and a journalism school. Amid the commercial sprawl of Alexanderplatz, it’s a bizarre place for a gallery: especially one with the kind of audience KTZ attracts.
    John Seal’s latest show in the space, look to the void with expectation, oh precious and pregnant hope, has the aesthetic of a seaside art gallery your parents might check out on holiday: oil paintings of pastel waves crashing against the beach; an oversized velvet bow tie; thick clownish, colourful brushstrokes on canvas; a cabinet with repeated cup and…

  • “We got there (late)”, says one of the alt-text boxes in Harm van den Dorpel’s ‘Deeptis.su’. It’s a durational online work running over an eerily upbeat and repetitive soundtrack, as disjointed images develop and diffuse across a slideshow of equally contrasting and transient wallpapers. There’s a sketch of a Victorian Lady stood next to a pair of computer speakers, the words “some things that work in one decade” emerging over gloomy-hued brushstrokes before slowly vanishing to white: “just don’t work in the next”. Gestural streaks of complementary colours, a lorem ipsum site template and evaporating beads of water grow out of, and melt into each…

  • Ed Atkins is a multimedia artist whose primary means of expression is high-definition 3D animation. His strange, psychedelic and almost psychotic eponymous solo exhibition at the Serpentine uses a CGI avatar, ‘Dave’, as a performing protagonist who appears across multiple screens across the gallery. Dave, or dismembered parts of his body, is/are scattered throughout the show: a surprisingly bloodless head dropping down stairs, a piece of a torso mounted MDF board accompanied by poetry, a drunk resting on a table with a glass of booze and never-ending cigarette in hand – Dave is everywhere. His naked body appears with scrawled black marks that verge between poorly…

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