‘Staying Present’: an AQNB x Video in Common screening rundownKlein: ‘Key Change’Darja Bajagić @ Carlos/Ishikawa reviewedAn interview with Chloe WiseAnne Imhof @ Hamburger Bahnhof reviewed<i>The Plant Show</i> @ 99¢ Plus Gallery reviewedFrieze London 2016 reviewedGhislain Amar, <i>Amar Amar</i> (2016) exhibition photosA look back at ABC BerlinAn interview with coucou chloéMorag Keil @ Eden Eden reviewedJulien Nguyen @ Freedman Fitzpatrick reviewedAn interview with NAKEDAlex Ito @ AA|LA reviewedKyle Petreycik, <i>As Is</i> (2016) exhibition photosReading Alberto García del Castillo’s <i>Retrospective</i>An interview with Rianna Jade ParkerIvana Basic @ Annka Kultys reviewedMr. & Mrs. Philip Cath @ Almanac reviewedAn interview with Berry Patten


  • What happens to the present when we’re stuck in the future? AQNB editor Jean Kay, and Video in Common (ViC) presented the ‘Staying Present’ screening, reading and discussion at Berlin’s Vierte Welt, as part of the Creamcake-organised 3hd Festival, on Wednesday October 12.
    In referring to the title of this year’s festival topic ‘There is nothing left but the future?’ AQNB x ViC focussed on the question mark, interrogating what is actually meant by ‘the future’ and whether the past has a role in determining it. The programme presented artists, musicians and ideas drawing on convention and tradition to comment on the contemporary condition by integrating old aesthetics, formats, media, practices and logics into producing…

  • Aline Bouvy presented solo exhibition Who will wear my teeth as amulets? at New York’s Motel which ran from June 25 to July 24, 2016.
    Curated by Brussels-based collective Bunk Club, the installation consisted of four new figurative wall reliefs, cast from acrylic-modified gypsum and arranged in a narrative tableaux, reading across the gallery as a life-size frieze. The figures hung on top of a wall drawing made with linoleum, spanning the entire space. The grotesque and mischievous characters evoke a sense of voyeurism from the viewer while maintaining an unapologetic detachment.
    The exhibition explored the possibilities and confinements of the human body and its functions, and the power that comes from relinquishing control.**


  • The Babble On group exhibition was on at New York’s Rockaway Topless, which ran from July 2 to July 17, 2016.
    Curated by Jenni Crain & Brent Birnbaum, the project featured work by Nadia Belerique, Lili Huston-Herterich, and Laurie Kang.
    The site-specific installation became a space for “no answers, a facilitation of intimacies, negotiations and friendships in the making.” The artists re-created a fountain-cum-well with benches for sitting, talking and observing with an additional sound element via the feature’s spout, using the water directly from Rockaway Beach.
    “Hi – it’s been some time, I hope you remember me. We first met at the pavilion where we accidentally rubbed shoulders. I saw you through slivers of light as…

  • “All of a sudden there’s a key change and you feel a certain way”, says Klein about the influence of the voice and Gospel in her music. As part of aqnb‘s ongoing video series made in collaboration with Video in Common, the London-based producer and performer talks about her influences spanning the breadth of the internet, from Kim Burrell to Pavarotti, and how it feels to be a self-taught musician and artist being embraced by the greater “electronic realm”.
    Klein released her first EP Lagata on September 1, where she produces a unique blend of athletic vocal exercises that clash and combine with noisy ambience to produce a very visceral, very singular sonic experience.
    ‘Key Change’ premiered at the recent…

  • John Bohl (with anonymous) presented A Place Before a Name at Baltimore’s online space Wild Flower, from July 18 and ongoing.
    Curated by Michael Bussell, Wild Flower is a series of exhibitions that happen in the Maryland city’s Leakin Park for the sole purpose of documentation and existing online.
    Bohl’s series of paintings, with an anonymous collaborator, are hung on twigs and small nails; the structure itself is ruins of what is thought to have been either the original care taker of the estate’s home or a spring house.**
    John Bohl, ‘Untitled’ (2016). Installation view. Photo by Michael Bussell. Courtesy the artist + Wild Flower, Baltimore
    John Bohl’s A Place Before a Name ongoing…

  • A necessary exhibition isn’t always a pleasant exhibition. Darja Bajagić’s Nobody Knows I’m Funny, running at London’s Carlos/Ishikawa from September 21 to October 20, is about as far from a pleasant experience as is possible in an art gallery. The show consists of pieces involving various media, but the viewer is immediately confronted by three works on canvas of women’s heads, one being the severed one of Bianca Brust, apparently strangled to death by a black metal band member and, if the accompanying publication included as part of the exhibition is to be relied upon, beheaded and photographed for the delectation of some of the…