ArtReview October issue


Inside


Pierre Huyghe
Ben Eastham on the artist who’s been shifting boundaries between art and life for over 30 years – and his latest experiments with AI at London’s Serpentine Gallery

Maurizio Cattelan
In his show for Gucci at Shanghai’s Yuz Museum, the Italian artist dreams of a world in which ‘the copy is the original’. Interview by Mark Rappolt

Bruce Nauman
Why Nauman? asks Jonathan T.D. Neil, as the American artist’s show travels from Basel’s Schaulager to MoMA, New York.

Nicholas Mangan
The Australian artist’s work complicate relations between immaterial and material value, and the transmission of both into currency and its flows, says Mark Rappolt

Zeng Fanzhi
“It’s like a monk’s daily ritual” – One of China’s best-known artists talks to Aimee Lin and Mark Rappolt about the act of painting, and his multipart show across three branches of Hauser and Wirth.

The Large Glass, Burned
A new fiction piece exploring art and the blockchain, by Rob Myers

Plus…

Reviews from around the world
Steirischer Herbst 18, various venues, Graz, by Ben Eastham
Suomi Finland 101 at Vantaa Art Museum, by Mike Watson
Laure Prouvost at Palais de Tokyo, Paris, by Ben Eastham
Haegue Yang at Museum Ludwig, Cologne, by Eliza Levinson
David Claerbout at Kunsthaus Bregenz, by Aoife Rosenmeyer
Julia Scher at Galerie Drei, Cologne, by Moritz Scheper
Vanessa Safavi at The Breeder, Athens, by Caroline Elbaor
Maria Lassnig at Kunstmuseum, Basel, by John Quin
Peter Fraser at Camden Arts Centre, London, by Patrick Langley
Mark Aerial Waller at Rodeo, London, by Ben Eastham
Harold Ancart at David Zwirner, London, by Gabriel Coxhead
Akram Zaatari at New Art Exchange, Nottingham, by Louise Darblay
Afro-Atlantic Histories at MASP and Instituto Tomie Ohtake, São Paulo, by Bernardo Mosqueira
33rd Bienal de São Paulo, by Oliver Basciano
Made in L.A. 2018 at Hammer Museum, Los Angeles, by Lindsay Preston Zappas

And…

Martin Herbert’s pick of ten must-see exhibitions in October; Ben Kinmont talks to Ross Simonini; book reviews including Gary Indiana’s Vile Days: The Village Voice Art Columns, 1985–1988 and The Jean Freeman Gallery Does Not Exist, by Christopher Howard