The current inflation of art practice that combines references to pop culture with modernist aesthetics has resulted in a profusion of works that, through a simple (sometimes simplistic) play of contrasts, reflect postmodern nostalgia...
In this essay Anthony Huberman takes stock of information: the enemy, from Pop to Conceptualism.
Maria Muhle considers the work of Omer Fast and its concern with the representation of key historico-political topics, from the Shoah in Spielberg's List to the Israeli-Palestinian conflict in Take a Deep Breath...
With the historical categories of realism in film as background, Volker Pantenburg analyses the shift in Pedro Costa's modes of production to locate a singular form of digital realism within his work.
Facing the omission of gallery education from recent discussions of pedagogy, Carmen Mörsch presents critical gallery education as an alternative to the bind between emancipation through the will to educate and emancipation through the presumptive equality of all subjects.
Dieter Roelstraete considers the highly localised practice of Jef Geys, who has used his experience as a schoolteacher to cloud the difference between ‘amateur’ and ‘professional’ in the art field.
In this analysis of the mediating object of pedagogy and communication, Pablo Lafuente sees Ricardo Basbaum's projects as allowing agency for both the recipient of information and the object itself.
Andrew Stefan Weiner examines recent works that reflect a new conception of eventhood: one not defined by occurrence in time but instead by the production of unpredictable effects that contaminate or even constitute the experience of the event itself.
Shepherd Steiner reflects upon the recent exhibition of Helen Frankenthaler’s paintings at Gagosian Gallery, insisting that we disentangle criticism from the global circulation of art as finance capital.