Two years ago the Gallerie dell’Accademia initiated a program—coinciding with each Venice Biennale—of showing modern art in its newly refurbished ground floor spaces. The idea is to examine the influence of traditional techniques on current practices. First came a widely acclaimed Philip Guston show, now Georg Baselitz follows. Keep Reading
This an exhibition with an agenda. Carolee Schneemann (born 1939) is famous for her performances and their filmic and photographic records in the period bracketed by Meat Joy, 1964, and Interior Scroll, 1975. The exhibition “Kinetic painting” at Museum Für Moderne Kunst proposes, first, that her work should be seen as expanded painting, thereby challenging the received primacy of medium, and, second, that her whole oeuvre— more than 300 works— should be attended to seriously, from the 1950s through to her current production. Keep Reading
Italian-born artist Salvatore Arancio has created an unusual one-room exhibition. It combines historic objects from the collection of London-based retired banker and author George Loudon with his own works, integrating the whole into a display akin to the tradition of the cabinet of curiosity.
Mid-career Brazilian artist Cinthia Marcelle (born Belo Horizonte, 1974) first came to my attention for photographs she’d made together with the South African artist Jean Meeran, in which Marcelle disappeared into the landscape, dressed in a cape with matching colours so that self and city elided (“Capa Morada”, 2003). Keep Reading
Erica Eyres’s short films tend to hint at stories which are hard to pin down, and do so with a certain awkwardness which may arise naturally and which Eyres chooses not to edit out. She prefers to embrace an aesthetic which seems somewhat amateur and slightly off-kilter but is still visibly produced, more akin to bad TV or instructional videos than to the home products of the Internet. Keep Reading
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