Sarah Lucas interviewed: Becoming art history comes with its own troubles. How to have a history without becoming historical? How to stop being a Young British Artist in order to carry on being, well, just an artist – maybe a good one, and one who means to stick around? J.J. Charlesworth has some questions for Sarah Lucas
City Focus: Berlin (Part I): Must art-driven gentrification always follow the same trajectory? The one in which artists colonise cheap spaces in an industrial area, gallerists follow, restaurants and bars arrive to keep everyone fed an happy, then people with more money ‘discover’ the place, chasing prices up and the artworld out – only to repeat the cycle elsewhere? Kimberly Bradley focuses on Potsdamer Strasse in the first a three-part series
Meriç Algün Ringborg: ‘The Concise Book of Visa Application Forms is a very quiet piece underlining a very powerful structure that is only visible to those who are deemed to cross paths with it. Seeing those forms together in a closed structure like a book has a certain effect. It corners you.’ Jacob Fabricius speaks with Meriç Algün Ringborg about her recent work
Abraham Cruz Villegas: ‘For the Mexican artist the term autoconstrucción has referred to a series of projects rooted in the ad hoc, self-built homes of his native Ajusco. What does it mean, then, that he’s referring to his latest work as autodestrucción?’ Chris Sharp parses ‘autoconstruccion’ and ‘autodestrucción’ in the work of Abraham Cruzvillegas
Adel Abdessemed: The Pulitzer Prize-winning icon of Vietnam War atrocity – one of photojournalism’s decisive moments, a snapped shot seen around the world – now an aesthetic object in prehistoric dentine. Christopher Mooney looks at ‘Cri’, among other works by Adel Abdessemed, on the eve of a London show by the French artist
In Now hear this, our writers on what's happening in the artworld and beyond including Mike Watson on art funding and politics in Rome; Sam Jacob on the stuff that life is made of; Astrid Mania discovers who sets the art agenda in Berlin; Marie Darieussecq on ‘artivore’ insects; J.J. Charlesworth on the balance between market and critical value in the British art market; Jonathan Grossmalerman is swept away by the storm; Oliver Basciano goes to Norwich to visit OUTPOST, while Joshua Mack reports back from New York after the flood.
In Great Critics and their ideas, Matthew Collings interviews Zola on realism and in the Comic Strip, Paul Gravett presents a new comic by Let Me Feel Your Finger First.
In Reviews, current and recent exhibitions including Rashid Jonhson at the South London Galleries, London; Abbas Akhavan at the Delfina Foundation, London; Trevor Paglen at the Lighthouse, Brighton; Diana Thater at David Zwirner, New York; David Otrowski at Ltd Los Angeles; Neïl Beloufa at Kunstraum Innsbruck; Yue Minjun at Fondation Cartier, Paris; Collective Practice in China Now at UCCA, Beijing, 30th Bienal de São Paulo; and many others.
In Book reviews, recent or upcoming publications including Cycle of Violence by Grason Perry, Vacuum Days, by Tim Etchells and Alternative Histories, edited by Lauren Rosati and Mary Anne Staniszewski.
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