by Jörg Heiser
London-based graphic designer Fraser Muggeridge talks us through his…
Philosophers Robin van den Akker and Timotheus Vermeulen talk…
Creativity as resistance
The importance of being curious
Can Egypt’s NGOs survive repressive new legislation?
Arts funding and the recent elections in Brazil
An alternative history of graphic design
A new futurism in dance music?
Twinship in contemporary art
Art, auctions and storytelling meet in Valeria Luiselli’s latest novel
Q: What music are you listening to? A: Things that would disgust my teenage self; I have betrayed her.
In recent years, abstract painting has experienced both a new popularity and a critical backlash. Can it be written off as ‘zombie formalism’ or are innovative approaches to abstraction really being developed?
Social division and artistic engagement in the work of Mohamed Bourouissa
Being betrayed by the body
Wolf-whistling at fallen angels in Lukas Duwenhögger’s imagined worlds
Jennifer Higgie talks to Sheila Hicks about the 60-year evolution of her artistic language
Material production and the march of history
Dansaekhwa, or ‘Korean Monochrome Painting’, is the name ascribed to a style of painting practiced by a loosely affiliated set of Korean artists who came to prominence in the 1970s. Three recent exhibitions — at Blum & Poe, Los Angeles, Alexander Gray Associates, New York, and Kukje Gallery, Seoul — have, for the first time in a generation, brought this work to an audience outside of Korea, while a presentation of Dansaekhwa will be shown as part of the 56th Venice Biennale in May this year. We asked the curators of these exhibitions — Sam Bardaouil, Till Fellrath, Joan Kee and Yoon Jin Sup — to reflect on the key factors that led to the development of Dansaekhwa’s unique aesthetic and what its legacy is today.
Cold portraits and warm-hearted annotations
Dan Fox explores handcrafted futures and the automated present in Scott Reeder’s new sci-fi film Moon Dust
Page 1 of 1 pages
Zentrum für Kunst und Medientechnologie
Museum of Modern Art
Art Gallery of Ontario
Fogo Island Gallery
The Screening Room
Mary Boone Gallery & Metro Pictures
From May 2011
What images keep you company in the space where you work? Domestic paraphernalia, plus things that find their way in from outside: bits of rock, branches, birds nests, cunted old buckets and so forth.