May issue out now

The artworld calendar of biennials, quinquennials and decennials comes into alignment in 2017 - with the five-yearly Documenta just opened and the once-a-decade Skulptur Projekte Münster opening in June (not forgetting Documenta’s second part, in its hometown of of Kassel). But this month ArtReview turns to the opening of the Venice Biennale, to consider the work of Mark Bradford, Geoffrey Farmer and Samson Young, three artists who in different ways reflect on sociability and social engagement as tools in art...


Mark Bradford – Jonathan Griffin hears from the LA-based artist why his first instinct was to decline the invitation to represent the US at Venice this year

Geoffrey Farmer – Craig Burnett looks for the source of the artist’s fountain for the Canadian Pavilion, and finds Allen Ginsberg and a violent collision

Samson Young – Mark Rappolt listens to the seeming innocence, romanticism and sinister expressions of power in the Hong Kong artist’s sound, performance and video works

Marion Baruch – Martin Herbert writes of the artist’s fortuitous encounter with a sack of fabric remnants, and her subsequent discovery of the rich potential to be found in the void

Martin Herbert picks ten must-see exhibitions for May – in London, Dublin, Rome, Brussels, Paris, Los Angeles, Berlin, New York, and, of course, Venice

Our columnists have their say…

J.J. Charlesworth argues that Documenta’s engagement with Athens echoes the crisis of democracy between Greece and the EU, while Maria Lind discovers an artist whose use of metals and minerals bring the digital and the virtual back into touch with materiality

Reviews from around the world including

Richard Mosse at the Barbican Centre, London, by Ben Eastham
Jesse Darling at Galerie Sultana, Paris, by Violaine Boutet de Monvel
Michael Sailstorfer at König Galerie, Berlin, by John Quin

Ned Vena at Société, Berlin, by Mark Prince

Nina Fischer & Maroan el Sani at Marie-Laure Fleisch, Rome, by Mike Watson
Colori: Emotions of Color in Art at GAM, Turin, and Castello di Rivoli, by Hettie Judah
BOCA – Biennial of Contemporary Arts at various venues, Lisbon and Porto, by Justin Jaeckle
Mihai Olos at MNAC Central, Palace of Parliament, Bucharest, by Phoebe Blatton

Andrea Büttner with David Raymond Conroy at Kunst Halle Sankt Gallen, by Aoife Rosenmeyer
These Rotten Words at Chapter, Cardiff, by Lizzie Lloyd

Franki Raffles at Reid Gallery, Glasgow School of Art, by Susannah Thompson

Maeve Brennan at Chisenhale Gallery, London, by Louise Darblay

Knut Henrik Henriksen at Hollybush Gardens, London, by Chris Fite-Wassilak
Jaki Irvine at Frith Street Gallery, London, by Alice Hattrick

Irma Blank at Alison Jacques Gallery, London, by Gabriel Coxhead

Ewa Axelrad at The Ryder Projects, London, by Fi Churchman
Would You Rather... at BBQLA, Los Angeles, by Lindsay Preston Zappas
Derya Akay at Del Vaz Projects, Los Angeles, by Andrew Berardini
Juan Antonio Olivares at Off Vendome, New York, by Oliver Basciano

Dara Friedman at Gavin Brown’s Enterprise, New York, by Brienne Walsh

Sue Williams at 303 Gallery, New York, by Ashton Cooper
Korakrit Arunanondchai at Clearing, New York, by Jeppe Ugelvig
Wong Kit Yi at P!, New York, by Owen Duffy

Jennie Jieun Lee at The Pit, Los Angeles, by Jennifer S. Li
Alexandre da Cunha at Pivô, São Paulo, by Nathalia Lavigne


Mary the Mother of God talks to Matthew Collings about free speech, LD50 Gallery and Damien Hirst; a new strip by Olivier Kugler draws on the artist’s reportage-style observation of the lives of Syrian refugees; and in the latest instalment of ‘A Curator Writes’, I. Kurator speeds from Berlin to Athens on the back of a motorcycle possibly driven by Greece’s former finance minister…

Not forgetting... 

Book reviews of Nato Thompson’s Culture as Weapon, Marcus Verhagen’s study of art and globalisation, and more...

5 May 2017