<i>Union</i> (2014) @ Union Pacific exhibition photosAn interview with Megan RooneyDean Blunt’s <i>New Paintings</i> @ [ space ] reviewedLunch Bytes’ <i>Society: The Commons / Public Space</i> reviewed<i>Private Settings, Art after the Internet</i> (2014) exhibition photosV4ULT’s <i>a gesture waves us on, answering our own wave</i> reviewed<i>AFA</i> (2014) @ 63rd-77th STEPS off-site exhibition photosAdam Cruces @ Exo reviewedBeatriz Olabarrieta, <i>Diagonal Z Jeans</i> (2014) exhibition photos + videoYuri Pattison, <i>Free Traveller</i> (2014) exhibition photosAn interview with Anna CrewsEd Fornieles @ Chisenhale Gallery reviewedA walk through <i>EDENunlimited/tbc.tbc</i>An interview with Metahaven<i>(networked) EVERY WHISPER IS A CRASH ON MY EARS</i> reviewedAram Bartholl, <i>Hurt me plenty</i> (2014) exhibition photosBerlin Art Week highlights: Marguerite Humeau + Kate CooperAnne de Vries, <i>THE OIL WE EAT</i> (2014) exhibition photosHannah Perry @ Serpentine Galleries reviewedReading Ryan Trecartin’s <i>SITE VISIT</i> @ KW

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  • On the way to new London gallery Union Pacific, there’s a health and wellness centre called Zen Clinic. It’s a title that’s emblematic of the the all-too-familiar contradiction of late-capitalist desire, where the privileged fallacy of ‘self-actualisation’ comes in the cryo-packed quick fix of commodity spiritualism; of body and soul subsumed by industry. It’s an idea that has occupied the minds of gallery founders Grace Schofield and Nigel Dunkley for a while now, the latter of whom explored the Western business model for Eastern metaphysics as part of the N/V_PROJECTS-curated The Fulfillment Centre at the The Sunday Painter earlier this year.
    Union (2014) @ Union Pacific. Installation…

  • Megan Rooney and I both grew up on the frayed edges of Toronto’s sprawling suburbia, and it shows in strange, imperceptible ways that I’m somehow always newly surprised by. You can see it in random, erratic things, in our shared nostalgia for Henry Moore’s monolithic women lying permanently along the floors of the Art Gallery of Ontario (AGO), or for teendoms spent in North American malls as a sort of female rite of passage. You can also see it in the way we react to ‘othered’ things, the equal parts affinity and disgust at the candy-coloured California dreams of the coast, for example, or the outsider’s fascination with sleek Parisian woman gliding through distinctly non-North…

  • Notoriously elusive Dean Blunt gives little away in the materials surrounding New Paintings, his latest exhibition for Hackney’s . As viewers enter the room, two short wall-mounted phrases – “the good die young” and “ball in heaven” – are the only introduction to the wide open exhibition, and his deliberate withdrawal of context immediately feels overwhelming.
    The honorific description of the death of young people sets up the idea that this is going to be a show dealing in similar themes Blunt has touched on many times before, in both his music and visual art: that of gangs and crime, or rather,…

  • The commons is a place that operates outside political, economic and commercial influence. At Society: The Commons / Public Space, the third London-based panel at the ICA, it is in the disappearance of such spaces that curators Helen Kaplinsky and Julia Tcharfas, artists Stephan Dillemuth and Eleanor Saitta, and Metahaven member Daniel van den Velden find focus.
    Established by Amsterdam-based curator Melanie Bühler in 2011, Lunch Bytes has become a international discussion series of sorts, exploring the role of the internet in creative practices first with an ‘American Edition’ in Washington DC and Miami and moving across Europe throughout 2014 to culminate with a symposium in Berlin next year. It’s no coincidence…

  • For a minute I’m confused. Looking through the images for Warsaw’s Private Settings, Art after the Internet group survey, curated by Natalia Sielewicz, it’s a disorienting trip through a recent and familiar past for any fan of this kind of contemporary art. It features everything from the droll and deeply troubling leftist philosopher-as-popular-icon-and-fashionable-brand video commission and “sportswear range” ‘Thinkspiration’ (2014) by DIS, to Cuss Group‘s more aspirational attempt at redefining post-Apartheid South Africa into a “rainbow nation” in their ‘Live Distillation’ (2013) video and digital print installation. To try to attempt to explain what this kind of art is, where any attempt at a broadstroke compartmentalisation of…

  • A continual tug-o-war between control and resistance is seemingly built into the paradigmatic contorts of every communication system. Perhaps the most interrogated of these are online environments, particularly those that emerged in the wake of the 2.0 ‘revolution’, which replaced a (arguably) chaotic system of peer-to-peer networking with a series of rotating corporate platforms and the google “safe-search” bar. When considering the structures that facilitate not only online, but all levels of interaction, one looks at the extent of manipulation occurring at the point that a message is mediated between two, or multiple indices. What role do we, as both source and recipient of…