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Mitch Speed

Mitch Speed is based in Berlin. His writing has appeared in Frieze, Camera Austria, Turps, and Canadian Art. Speed has an MFA from Mason Gross School of the Arts, at Rutgers University, and a BFA from Emily Carr University, in Vancouver. While at Rutgers, he was a part-time lecturer at the undergraduate level, and founder of a reading group called The Obsolete Juror, focusing on the relationship between contemporary art and writing. From 2011 until 2014, he was founder and co-editor of Setup, a journal of contemporary art and writing published by Publication Studio.

Reviews• December 14, 2020

The Shadow-Self Universe of Chris Ware

By Mitch Speed

Graphic novelist Chris Ware’s most recent effort, Rusty Brown, is a life-giving maze. A massively depressing book – a 356-page monument to modern loneliness…

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Features, Reviews• February 27, 2020

Living Fragments: On Berlin’s Winter of Broken Pieces

By Mitch Speed

I, for one, want to be broken into pieces. The way sappy music breaks its lovers. We bright-lit gallery people are more reserved. But…

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Features• December 17, 2019

Let Them Eat Crystal: Rodney Graham and the Bankruptcy of Ironic Art

By Mitch Speed

The following words are angry. Their author has discarded the separation between emotion and analysis customary in his line of work. How else could…

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Reviews• November 5, 2019

Unequal Planes: Vancouver’s Architectural Clash of Ideal and Real

By Mitch Speed

When socio-political awareness gathers to a breaking point, and nerves are raw, and people start getting fed up, fantasy runs into problems. In fraught…

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Reviews• July 26, 2019

Wire and String: Olga Balema’s Sinewy Abjection

By Mitch Speed

What does it mean when the most meaningful thing is damn near nothing at all? Not the antiseptic nothing of Marie Kondo’s puritan minimalism,…

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Features, Reviews• May 1, 2019

The Erotics of Liberty: Dorothy Iannone’s Cultivated Bohemia

By Mitch Speed

Whatever else they do in this world or the next, gods take up space. Consider Dorothy Iannone’s recent exhibition Lady Liberty Meets Her Match…

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Features, Reviews• February 12, 2019

Ana Mendieta’s Death is Not a Metaphor

By Mitch Speed

Let the art come first. This must have been the axiom behind Covered in Time and History, Martin-Gropius-Bau’s 2018 exhibition of twenty-three films and…

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Features, Reviews• January 16, 2019

What’s Wrong with a Fairly Good Biennial?

By Mitch Speed

What’s not to like about good art, hung well – not too packed, not too sparse – across venues of many scales and vintages,…

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Reviews• July 25, 2018

Worrying the Note: A German Stage for Arthur Jafa’s Black-American Chorus

By Mitch Speed

Arthur Jafa’s exhibition at the Julia Stoschek Collection exceeds the oft-recited cliché that “context matters.” In Berlin, it forms an imagistic phenomena, like some luminescent…

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Features, Reviews• May 4, 2018

What is to be Learned, What is to be Done? Thomas Hirschhorn at the Remai Modern

By Mitch Speed

Three months ago, I bought a CD of poetry from Johnny Marceland, a sixty-year-old Dene man who lives in my hometown of Saskatoon. Throughout…

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