Sanded Edges: Pierre Huyghe Turns Polite at the Serpentine
Pierre Huyghe’s work has often worn its politics lightly, preferring to focus on the exhibition as a laboratory-theater for cultural experiment. However, his latest…
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The Strangeness of the Everyday: Skulptur Projekte Münster’s Deep Grey
Not an auspicious start. I stood under the regularly irregular German rain in front of one of Skulptur Projekte’s posters, annoyed by what might…
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While the World Burns: The 32nd São Paulo Biennial’s Political Disregard
For the first time in the history of the São Paulo Biennial, the turnstiles disappeared. Attendees carried no tickets and sported no bracelets. The…
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Do You Have to Be Rich to Make It as an Artist?
On my end-of-the-year “Best Shows” list, I nominated Rachel Rose’s hypnotic Everything and More video at the Whitney Museum of American Art. In response,…
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Pierre Huyghe’s Airless Fantasy at Hauser & Wirth
Here’s my beef with Pierre Huyghe: the more his work dazzles his viewers with theatrical special effects, the more his underlying motivations are lost…
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