In support of ornament: New York’s Super Dutchess exalts in the impish tease of our infinite smallness with its God Is in the Details group show Charlie Janelle Freiberg, 13 April 2021 reviews
The body as temple both sacred & profane in Valentina Vaccarella’s Show World Order & its poetic exploration of the abject Sven Loven, 27 January 2021 reviews
Living with the echoes of trauma: Océane Bruel & Dylan Ray Arnold’s exhibition turns the mood of 2020 into a landscape Kaino Wennerstrand, 7 December 2020 reviews
Ordering the generic: On the changing functions of unprofessional image-making in Amateur Photography. From Bauhaus to Instagram Judith Sieber, 6 May 2020 reviews
Beatrice Marchi roleplays the tropes of prom queens & pop stars in a view of femininity from the perspective of a fish out of water in Happy Yellowing Dennis Brzek, 28 April 2020 reviews
Art without artists: Emma Pryde & Willard Klein reimagine our relationship with the past in their joint Dream of the Palace show Brandon Sward, 10 March 2020 reviews
The poetic lyricism of Imran Perretta’s the destructors presents as a pessimistic statement of intent within the nostalgic familiar Kashif Sharma-Patel, 5 March 2020 reviews
A plurality of perspectives between sound, plants & architecture from Maria Thereza Alves, Lucrecia Dalt & Cevdet Erek at CTM Anabelle Lacroix, 17 February 2020 reviews
Alicia Mersy’s Your Ability to Touch is Limitless finds comfort in the interdependent reality of our URL & IRL community diana, 7 February 2020 reviews
Gerda Paliušytė’s haunting ‘Nevermore’ documentary emphasises interdependence & connection as its own form of resistance Yates Norton, 5 February 2020 reviews
Emily Barker antagonizes the apparent neutrality of the able-bodied archetype by addressing accessibility in Built to Scale Sophia Aira, 29 January 2020 reviews
“Too bad it’s sinking”. (Self-) surveillance, climate dread & other existential terror at Miami’s Borscht Resurrected Steph Kretowicz, 13 December 2019 reviews
Memento mori: On the horror of inevitability & portents of endings as Tallin’s EKKM is forced to a halt during its last exhibition Steph Kretowicz, 29 November 2019 reviews
Here for the flow: Anna Zett’s Artificial Gut Feeling essays offer ringside seats to the fervently thinking body Kim Modig, 14 November 2019 reviews
Thoughts against ambience: sonic tension & void in Pan Daijing’s durational opera Tissues for the Tate Modern Jared Davis, 12 November 2019 reviews
Get Low (Real Deep): The underground networks of Vancouver’s New Forms Festival explored at their historical roots Isabelle Harada and Matt Dell, 21 October 2019 reviews
When did you get here? Reuniting the past & the present in Hrefna Hörn Leifsdóttir’s A carefully chosen set of advises Gab Hadden, 20 August 2019 reviews
Auto Italia’s evasive Unorganised Response group exhibition remains unruly by gazing at our institutions from the peripheries Jade Barget, 13 August 2019 reviews
Seeing into the future through the deepwater horizons of Linda Stupart & Carl Gent’s All Of Us Girls Have Been Dead For So Long Isabel Waidner, 2 August 2019 reviews
