Issue 22 out on December 15!
CONTENTSSarah Lucas’ pieces were traditionally aimed at adverse presentation, “Penetralia” moves away from that, and the newest sculptures, “NUDS”, appear to completely break away. By Daniel Baumann
Capacete Entretenimentos dissolves the borders between the public and private, achieving space for the continuously changing creative community. Pablo Léon de la Barra on Helmut Batista’s art project.
Leopold Kessler questions open space, making minimal manipulations and shifts in perception. Fouad Asfour on the Austrian artist.
90s revival. Is the time ripe for it? Andreas Schlaegel asks while searching for new projects in the spirit of Relational Aesthetics
Janette Laverrière, one of the first Modernists. Nick Currie on the Swiss designer.
Performa 09. By Adam E. Mendelsohn
Museum of Everything of London collector James Brett. By Daniel Baumann
Sanja Iveković‘s Performance Eve’s Game is curator Pierre Bal-Blanc‘s key piece.
Wilhelm Schürmann, one of Germany’s most influential collectors. By Andreas Schlaegel
On preventing production by Fritz Ostermayer
Slavoj Žižek’s newest book “First as Tragedy, Then as Farce”. By Joanna Fiduccia
Ayse Erkmen‘s artist’s favourites
Why are art fairs so annoying? Adam E. Mendelsohn asks himself and others at the Frieze Art Fair.
Freymond-Guth and Co. Fine Arts in Zurich. Gallery owner Jean-Claude Freymond-Guth in conversation with Rita Vitorelli
Vilnius, no art market, no pressure. Is that the reason for the success of an institution like CAC or a gallery like Tulips & Roses? By Valentinas Klimašauskas
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