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The Bricoleur: Kaspar Müller

Kaspar Müller and Federico Vavassori in Conversation with John Beeson and Arthur Fink   For his second solo show at Galleria Federico Vavassori in Milan, Kaspar Müller transferred the majority of his studio to the gallery.

On the Beach: Lucy McKenzie

Lucy McKenzie in conversation with Marie Canet   Villa De Ooievaar is situated not far from the beach of Ostend, Belgium, in the region of Flanders.

The Weight of What Happened: Mao Tongqiang

Mao Tongqiang and Gabriele Sassone in conversation Today’s Yesterday, the first edition of the Anren Biennial (directed by Lu Peng), presented—in the section The Szechwan Tale: Theatre and History (curated by Marco Scotini)—the work of Mao Tongqiang (Yinchuan, 1960).

“Like a Moth to a Flame” at OGR, Turin

Tom Eccles and Mark Rappolt interviewed by Giovanna Manzotti   Considered a wide-ranging project—where the “idea of collaboration and the sharing of resources, as well as the themes of rebirth and renewal” are at the core of its origin—the exhibition, Like a Moth to a Flame, has officially inaugurated the Visual Arts Program at the renovated Officine Grandi Riparazioni (OGR) in Turin, a site built between 1885 and 1895 that was once dedicated to the maintenance of railway vehicles.

“Delirious: Art at the Limits of Reason, 1950-1980” at Met Breuer, New York

by Emily Watlington   When Carl Andre was on trial for the murder of Ana Mendieta, his lawyers brought in her art as evidence of her delirium.1 The work’s emotional content was used to prove that Mendieta was unstable.

Wang Bing “Experience and Poverty“ at Magician Space, Beijing

Wang Bing and Francesco Tenaglia in conversation Wang Bing is one of the best-known Chinese filmmakers in the West.

“Pedro Barateiro: The Opening Monologue” and ”The Absent Artist (An Exhibition for Jozef)” at Netwerk, Aalst

Text by Ellen Mara De Wachter In September, the contemporary art space Netwerk—which was founded in 1981 in the Belgian city of Aalst—reopened after a change of directorship with the launch of a two-year program titled The Unreliable Protagonist.

James Crump: Antonio Lopez 1970: Sex Fashion & Disco

James Crump interviewed by Stefan Kalmár   Stefan Kalmár: Why Antonio Lopez, and why now? James Crump: Antonio has been resonating for me for a very long time, since I was a teenager growing up in the Midwest of the United States.

A Landscape That Writes Itself: Daniel Steegmann Mangrané

Daniel Steegmann Mangrané and Juan Canela Claver in conversation. Daniel Steegmann Mangrané was born in Barcelona in 1977, and he has lived and worked in Brazil since 2004, which has significantly influenced his practice.

Between the Private and the Public, the Intimate and the Political: Kostis Velonis

Kostis Velonis and Daphne Vitali in conversation Kostis Velonis’s sculptural work often refers to historical events and art historical movements, while his markedly political work has at the same time a very personal aspect.

Between the Private and the Public, the Intimate and the Political: Kostis Velonis

Kostis Velonis and Daphne Vitali in Conversation Kostis Velonis’s sculptural work often refers to historical events and art historical movements, while his markedly political work has at the same time a very personal aspect.

Between the Private and the Public, the Intimate and the Political: Kostis Velonis

Kostis Velonis and Daphne Vitali in Conversation Kostis Velonis’s sculptural work often refers to historical events and art historical movements, while his markedly political work has at the same time a very personal aspect.

Rose Wylie: “Quack Quack” at Serpentine, London

Text by Nicholas Hatfull The shelves of Maison Dandoy, the venerable baker of speculoos on Rue au Buerre, Brussels, are crowded with antique biscuit moulds.

The Szechwan Tale: Theatre and History, Anren Biennale 2017

Text by Francesco Tenaglia In the dressing room, at the entrance to the exhibition, you can dress up as a character from the Beijing Opera, as a Sichuanese peasant, or as a guard of the People’s Republic during the Cultural Revolution.

Rita McBride “Explorer” at WIELS, Brussels

Rita McBride interviewed by Dries Verstraete   In her sculptural works, American artist Rita McBride takes a shortcut with minimalism by directly and formally quoting objects or architectural forms from the urban environment.

Amy Sillman: The ALL-OVER

Fabian Shöneich: “What do you think abstraction offers today?” Amy Sillman: “OMG!” This book provides an overview of American artist Amy Sillman’s most recent bodies of work, including diagrams, drawings, animations, sculpture, and large-scale abstractions that combine painting with digital prints on canvas, shown serially in panoramic installations.

“Life from My Window” at Laura Bulian Gallery, Milan

by Ilaria Bombelli   Roofs of houses and an indistinct landscape in the distance. This is what one sees in what is considered the first photograph of history: View from the Window at Le Pras (Point de vue du Gras, 1826-1827).

Lewis Stein “Works from 1968–1979” at ESSEX STREET, New York

Lewis Stein and Alex Bacon in conversation. LEWIS STEIN: I did lots of different things when I started making art as a student at UC Berkeley, but it all eventually crystallized in the work from the 1970s that I’m now showing at Essex Street.

Sgomento: Marco Mucci

Italian young artist Marco Mucci shares some details about his participation to the Zimei Foundation’s residency program, MucciComics and a relaxing self-portraying sculpture.

H. C. Westermann at Fondazione Prada, Milan

Text by Antonio Scoccimarro   Fondazione Prada simultaneously presents three projects that broaden the revision process of the historical-artistic narratives of the American post-war period—a trend that has been underway for some years now, with the progressive rediscovery of figures that have remained partially and temporarily in the sidelines, such as Jim Nutt (1938) and Kerry James Marshall (1955), the latter protagonist of a major cycle of shows staged over the last two years between the MCA Chicago, the Met Breuer, New York and the Museum of Contemporary Art, Los Angeles shifting the focus onto Chicago, the third largest driving force of wealth and culture in modern America.


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