The Polyphonous Calls for Land (and Land Back) of Manuel Axel Strain
Among the works installed by Manuel Axel Strain in Unit 17’s florist turned gallery space were: A stolen white-picket fence hemmed in by a…
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A Clinic the Size of the World
And, like the world, a lunatic asylum is a mosaic of the passions. —An asylum doctor in the Sarthe, 1837 Upon discovering an illness,…
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An Alien Echo at the Gwangju Biennale
I arrived at the 14th Gwangju Biennale intrigued but skeptical about its goals. This year’s title is Soft and Weak Like Water, an aphorism…
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Between Language and Cure: Athena Papadopoulos at MOCA Toronto
The UK-based and Toronto-born Athena Papadopoulos created the sculptures for her recent exhibition at the Museum of Contemporary Art Toronto (MOCA), her first institutional…
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Working It
In an interview about her 2003 performance Untitled, in which she had sex with an art collector on camera for a sum initially reported…
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Bad Reviews
I took a community-college workshop five years ago with Kirk Stoller, an artist whose work I could look at forever. Kirk used carpentry tailings…
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Azza El Siddique Summons Life Beyond Death
Sometimes called an alchemist, Azza El Siddique treats the act of making as just the beginning of a process that the artwork carries on….
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Solitary: Collective Authorship and its Discontents
In Hongcheon, a county two hours east of Seoul, sits a wellness center designed to resemble a prison. Run by an organization named Happitory,…
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The New World Looks Like the Old One: DYOR at Kunsthalle Zürich
A few years ago, I saw the same graffiti tag in Berlin and later in Athens: “Take acid, buy crypto,” it read, as if…
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Never Risky: Seeking New Life at the Singapore Biennale
On a sweltering afternoon in January, after a short, bouncy, and very pleasant ride aboard a tiny pocket trawler, I found myself on Lazarus…
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