Dagmara Genda

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  Tom Sachs

  “In order to be a critic, you have to be a willing participant,” states Tom Sachs in the podcast feature of the Deichtorhallen Hamburg, where his latest exhibition, “Space Program: Rare Earths,” takes over the venue’s expansive 3,000-metres-square north hall.

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  Kapwani Kiwanga

  Decolonization is not simply a matter of sharing power but of dismantling the hierarchical structures that inhibit a polyvocal society while paying symbolic lip service to it.

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  Playing the Fiddle While the Amazon Burns

  Nothing makes an artist feel as ineffectual as the looming climate catastrophe. Its existential pragmatism makes short shrift of poetics to focus on questions like: Who is financing the art and where does their money come from? How much waste is produced from the invitations, posters and flyers? What is the environmental impact of the all show accoutrement—the temporary walls, the climate-controlled rooms—of which the artwork itself is just the tiniest element?

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  Untruth to Materials or Tammi Campbell’s Art After Modernism

  Tammi Campbell is known for works that look like Modernist hard-edge paintings in progress, with particular focus on the Modernists’ use of tape. Included in this series are meticulous, halffinished greyscales where masked sections are readied for a new application of paint. Other pieces are explicitly based on Frank Stella’s signature stripe paintings but made with what appears to be masking tape alone. The works exist in a state of anticipation, awaiting the application of pigment and the eventual peeling off of all the tape.

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