At the moment I am working on these sort of sharks with characters inspired by biblical, Greek and Egyptian mythology. It is, above all, a work of carnal criss-crossing between bodies that melt into each other. It’s about trying to say something very sensual, almost erotic, through the modeling of the clay. In conversation with Rebecca Lamarche-Vadel
In conversation with Margot Norton
I’m working on a zombie-sex robot. Its body is based on an 18th-century ball-jointed wooden figure and I am incorporating silicon elements, from silicon sex dolls that are customizable. So it’s customizable in terms of what the sex doll market has to offer but not immediately ‘fuckable’. In conversation with Anna Gritz
Text by Whitney Mallett
I am most at home inside myself or so I think. Everything I buy becomes a part of me, a hateful new appendage to take care of just like Julio Cortázar warned me in his Instructions. If only I’d just bought a watch instead of the leathery couch, the bony lamp and the marble countertop which reminds me of my own veins slowly rising through the paleness of my leg. Where do I end and where does my house begin?
by Travis Diehl
Enter Paul Sepuya whose art stands like a lighthouse blinking in this storm. Sepuya’s use of his own body in his photographs is both an act of transparency as well as an assertion that his humanity is behind the work, not an algorithm, app or third party.
CURA. 28
In conversation with Venus Lau
There’s something of the Gothic in this impulse to “make explicit,” too. Gothic architecture made aesthetic the surfacing of its inner-scaffolding. Several of Jacoby’s projects likewise surface, through inversions of function or structure, otherwise invisible systems.
Sculptures become actions with titles like Positioner, Objectifier, Muter, and Penetrator.
The body never belongs entirely to ourselves but is instead the interface in which subject and collectivity meet and the scenario in which the relationship between the two elements is negotiated.
I think art is energy, it’s my definition of art. I had a lot of energy breaking out of a traditional role, finding a new sense of freedom.
Special commission
Tsang’s strategies of expanding the fourth wall confront the viewer with the gaze the camera casts on protagonists, but also with their own involvement in cinematic situations and the roles these usually prescribe.
Issue 27
in conversation with João Mourão and Luís Silva
Lou Dallas has been ambling around New York City since 2013, though her officious history starts in 2016 with Spring/Summer 2017 Fashion Week—a first formal showing.
Calame’s works are not placed in empty space and do not comply with aesthetic and formal parameters.
by Ciara Moloney
by Anna Gritz
in conversation with Adriana Blidaru
by Cecilia Alemani
by Liam Considine
by Loïc Le Gall
in conversation with Margot Norton
By Frances Loeffler
“Finally, a big group show. This is the largest exhibition the Wattis institute has ever…
After his introductory text, Anthony Huberman invited Robert Snowden, New York-based writer and curator, to…
A machine is too big of a word. It brings to mind an impossibly vast range of images – gears, steel, steam, molded plastic, blinking lights, switches, screens, and so much more.
by Daniel S. Palmer
by Frédéric Bonnet
by Anna Gritz
in Conversation with David Lê
by Liam Gillick
Los Angeles artist Sean Raspet’s work operates with and amongst the determinate systems that influence our world, such as finance and chemistry.
“To me, a body of work by a given artist has an inherent kind of…
in conversation with Martha Kirszenbaum
“Figurative art today has reached a point where in Europe and America a language is…
by Rose Bouthillier
by Chris Sharp
A conversation between Alex Israel and Gigiotto Del Vecchio
Text by Chris Sharp
in conversation with Samuel Leuenberger
"I am always enchanted by things which encompass two opposite concepts." Guan Xiao
There is a powerful mood of ambivalence that quivers in and around the work of Scottish artist Rachel Maclean. It can be seen in her cast of cutesy characters with pastel-colored skin and hair and wide-eyed stares, who with saccharine smiles sing in major keys of HAPPINESS and RAINBOWS to a shifting triumvirate of ghoulish TV talent show hosts.
in conversation with Elvia Wilk