Elvia Wilk is a writer and editor. She is author of the novel Oval (2019, Soft Skull Press) and is a 2020 fellow at the Berggruen Institute, Los Angeles, USA. She lives in New York, USA.
Describe a global crisis in 600 words? Too hard. But isn’t everything else irrelevant right now?
‘I first encountered Lialina’s piece in college and, as the years go by, I continue to return to and obsess over it.’
When dealing with abuse in the art industry, is it possible to separate the noun ‘work’ from the verb?
Following the Not Surprised letter it’s time to uncouple power from abuse in the art world
What live-action role play can teach us about artistic participation
A report from Europe’s longest-running design biennial, this year focusing on what it means to be ‘critical’
Two Baltic cities with compact, open-minded and active art scenes
Dan Gunn, Berlin, Germany
A report from the Cycle Festival for Music and Art in Kópavogur, Iceland
Recent video works by Annika Larsson, Laure Prouvost and Steve Reinke address the visceral power of the digital image
Museu do Chiado, Lisbon, Portugal
Alicja Kwade’s drama of elemental forces
The prescient experiments and interventions of Viennese architectural group Haus-Rucker-Co
Time for our annual end of year highlights. Chosen by our regular writers, contributing editors and ourselves, the best and the memorable of 2014 in art and culture. First up, regular writer Elvia Wilk.
Tobias Madison talks to Elvia Wilk about the liberating effects of alienation, running an education department for MoMA PS1, New York this summer and why art should be a hobby
Art: The Whole Earth at Haus der Kulturen der Welt, Berlin, curated by Diedrich Diederichsen and Anselm Franke. Predictable but true.
Simon Denny and the exhibition as interface