ArtReview March 2018

Featuring Joan Jonas interviewed by Liam Gillick, art and the far right, Tom Burr's youth, Jonathan Meese talks to Ross Simonini, Berlin's changing landscape, reviews and more



Martin Herbert’s pick of ten must-see exhibitions in March
Bruce Conner, Bellas Artes Projects, Manila
Lee Lozano, The Fruitmarket Gallery, Edinburgh
Hardeep Pandhal, Cubitt, London
Vittorio Brodmann, Freedman Fitzpatrick, Los Angeles
Mathilde Rosier, Galleria Raffaella Cortese, Milan
Michael Raedecker, Grimm, Amsterdam
1st Lahore Biennale
Carissa Rodriguez, Sculpture Center, New York
T.J. Wilcox, VNH Gallery, Paris
Judith Hopf, KW Institute for Contemporary Art, Berlin

Under the Paving Stones: John Quin on how money is changing Berlin’s urban and artistic landscapes

Artist-provocateur Jonathan Meese talks to Ross Simonini about how to save art from ideology

Art Featured

Joan Jonas meets Liam Gillick
As a retrospective opens at London’s Tate Modern, Jonas talks to fellow artist about magic, revelation and meaninglessness of the word ‘performance’

Irredeemable Form
Moving from Francis Bacon to Documenta 14, Mike Watson asks whether art might be too polite to fight the far right.

Tom Burr: Under Construction
Burr’s latest project in the disused Marcel Breuer-designed Pirelli Building in New Haven epitomises the artist’s longtime engagement with public spaces through an autobiographical lens. By Sam Korman

Art Reviewed

Reviews from around the world 

Man Ray at Gagosian Beverly Hills, by Jonathan Griffin
Tomma Abts at Galerie Buchholz, Berlin, by Mark Prince
Tino Sehgal at Tretyakov Gallery and Schusev State Museum of Architecture, Moscow, by Oliver Basciano
Sophie Calle at Musée de la Chasse et de la Nature, Paris, by Violaine Boutet de Monvel
How It’s Made at Carl Kostyál, Stockholm, by Stefanie Hessler
The Electric Comma at V-A-C Foundation, Venice, by Barbara Casavecchia
Ajay Kurian at Sies & Höke, Düssedorf, by Moritz Scheper
Evelyn Taocheng Wang at Galerie Fons Welters, Amsterdam, by Dominic van den Boogerd
Otobong Nkanga at Temple Bar Gallery, Dublin, by Luke Clancy
Gaylen Gerber at Galerie Emanuel Layr, Rome, by Mike Watson
Yan Pei-Ming at Massimo De Carlo, London, by Matthew McLean
Larry Achiampong at Copperfield Gallery, London, by Richard Hylton
Aaron Angell at Gallery of Modern Art, Glasgow, by James Clegg
Rachel Whiteread at Tate Britain, London, by Louise Darblay
Andreas Gursky at Hayward Gallery, London, by Fi Churchman
The Land We Live In – The Land We Left Behind at Hauser & Wirth, Somerset, by Gabriel Coxhead
Kathleen White at Marton Gallery, New York, by Cat Kron
Liz Magor at Andrew Kreps Gallery, New York, by Sam Korman
Dreams of Solentiname at 80WSE, New York, by Jeppe Ugelvig
Survival Research Laboratories at Marlborough Contemporary, New York, by Aaron Horst
John Bock at The Contemporary Austin, by Caroline Elbaor


Avedon: Something Personal, by Norma Stevens and Steven M.L. Aronson, reviewed by Christian Viveros-Fauné
Interviews on Art, by Robert Storr, reviewed by Oliver Basciano
Calder, The Conquest of Time: The Early Years, 1898–1940, by Jed Perl, reviewed by Jonathan T.D. Neil
YEAH, by Tuli Kupferberg, reviewed by David Terrien

The Strip: A new work by Chris Reynolds

A Curator Writes: I. Kurator meddles with the future of the Venice Biennale