Menna 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) videoAn interview with Beau Rice<i>Always Brian (TI AMO)</i> (2015) exhibition photos

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  • 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…

  • “It’s not really about oil running out, it’s about oil becoming worthless again”, says Monira Al Qadiri in the second instalment (see here for the first) in a pilot series, titled Money Makes the World Go ‘Round, produced in partnership with arts digital production unit Video in Common (ViC). The Beirut-based artist explores history as construction in a contemporary milieu of global capital and linguistic imperialism. In an age of networked communication, driven by the internet, the role of the English language and corporate branding becomes central to economic development and rapid cultural change in regions like the Middle East.

    “It’s this conflation between corporate culture and the state”, adds…

  • A play on art ascribed by chromosomes, group exhibition X is Y –running at Berlin’s Sandy Brown from March 6 to April 18 –provokes, “tell us again how women are free”. Ella Plevin is the author of said quote, taken from a text that comes with the room sheet noting the show’s Richard Kern short-film namesake, challenges gendered identity, questions ideas of ‘radical femininity’ as constructed by men and mentions that women haven’t always had control over their own bodies “(we still don’t btw)”. Hence, “A mop, a selfie, white goods, a diss, #heelconcept, an attitude, hair clips, pastels, sentiment.” It’s a list of…