December 2016

Featuring Wlademir Dias-Pino; Anthea Hamilton; Birdhead; Jiří Černický; Body and the City – Silas Martí on three Brazilian artists whose works focuse within and around their own bodies; reviews from around the world, views from our columnists and more



Martin Herbert’s pick of ten must-see December exhibitions

Body and the City – Silas Martí on three Brazilian artists who respond to crisis and transformation in their country through works focused within and around their own bodies.

Wlademir Dias-Pino – With his enigmatic billboards scattered across Ibirapuera Park for the 32nd Bienal de São Paulo, Fernanda Brenner considers the legacy this Brazilian typographer has left to poets, artists and graphic designers in Brazil.

Anthea Hamilton – Turner Prize-nominee Anthea Hamilton talks to Helen Sumpter about sampling, collaborating, choreographing and deadpanning her way through three quintessentially British shows.

Birdhead – Aimee Lin peels through the layers of the Shanghai-based collective's giant photo matrices, which borrow from traditional calligraphy, ink painting, Japanese photography avant-garde and new technologies.

Jiří Černický – The Czech artist presents Gagarin’s Thing, a project inspired by a mysterious object allegedly found in the astronaut’s vessel Vostok 1 after his return from outer-space.

Our columnists have their say…

J.J. Charlesworth considers the British artworld’s muted response to Brexit; Jonathan T.D. Neil on Rayner Banham, Eve Babitz, Joan Didion and the changing language of LA’s freeways; Maria Lind sees new ways of working and living together in Céline Condorelli’s exhibition at Kunsthalle Lissabon; Whilst Heather Phillipson’s dog is in heat, the artist reflects on the power of pheromones and inevitability of death; and Jonathan Grossmalerman on how an artist generates forward momentum.

Our selection of reviews from around the world

Tadasu Takamine at TKG+, Taipei, by Nirmala Devi

curated by_vienna at various venues, Vienna, by Edward Sanderson

Thea Djordjadze at Secession, Vienna, by Kimberley Bradley

Tino Sehgal at Palais de Tokyo, Paris, by Robert Barry

Sean Landers at Capitain Petzel, Berlin, by Mark Prince

Kishio Suga at Pirelli HangarBicocca, Milan, by Barbara Casavecchia

Wiktor Gutt and Waldemar Raniszewski at Pola Magnetyczne, Warsaw, by Phoebe Blatton

Lewis Klahr at Grieder Contemporary, Zürich, by Aoife Rosenmeyer

Michael Williams at Galerie Eva Presenhuber, Zürich, by John Quin

Pio Abad at Centre for Contemporary Arts, Glasgow, by Naomi Pearce

Infinite Mix at The Store, London, by Robert Barry

Uri Aran at Sadie Coles HQ, London, by Sean Ashton

Cindy Sherman and David Salle at Skarstedt, London, by Ben Street

Allison Katz at The Approach, London, by Kiki Mazzucchelli

Nigel Cooke at Pace, London, by Brian Dillon

Philippe Parreno, a Hyundai Commission at Tate Modern, London, by Helen Sumpter

Thomas Hirschhorn at The Mistake Room, Los Angeles, by Ciara Moloney

Betye Saar at Roberts & Tilton, Los Angeles, by Jonathan Griffin

Julien Nguyen at Freedman Fitzpatrick, Los Angeles, by Dean Kissick

Erika Vogt at Overduin & Co, Los Angeles, by Jennifer Li

Liz Deschenes at Institute of Contemporary Art, Boston, by Bill Clarke

Inside: artists and writers in Reading prison at HM Prison Reading, by Fi Churchman

TOTAL PROOF: The GALA Committee 1995–1997 at Red Bull Studios New York, by David Everitt Howe

Slavs and Tatars at Tanya Bonakdar Gallery, New York, by Owen Duffy

Bruce Nauman at Sperone Westwater, New York, by Joshua Mack

K8 Hardy at Lagagareena, Los Angeles, by Andrew Berardini

32nd Bienal de São Paulo at Ciccillo Matarazzo Pavilion, São Paulo, by Stephanie Hessler

Kenji Yanobe at Takamatsu Art Museum, Japan, by Adeline Chia


Sam Korman takes on New York for the first in our new series of city-based reviews marathons – featuring heritage chickens, latex, body-awareness, the disillusioned youth and more.


The Apparently Marginal Activities of Marcel Duchamp, by Elena Filipovic

Social Medium: Artists Writing, 2000–2015, edited by Jennifer Liese

Becoming Past: History in Contemporary Art, by Jane Blocker

Dalí’s Moustache, by Boris Friedewald


A new Magritte-inspired work by Tito na Rua, the Brazil-based comics and graffiti artist; ArtReview’s backpage columnist I Kurator opens the inaugural Wuhan Biennial to nervous applause.

25 November 2016.