Pablo Larios is an editor and writer. He lives in Berlin, Germany.
Why it’s not so simple to move art online – and other news from our Europe dispatch
frieze senior editor Pablo Larios visits the home of the mother and daughter artists in the Guatemalan highlands
As Italy comes under full lock-down, surveying the effects of a global health emergency
What to know in the EU’s arts and culture this week
Pablo Larios highlights the damaging effects of network fatigue in contemporary art
The artists, collectives, movements and tendencies that shaped art in the 2010s
On the odd fraternity between investor Peter Thiel and literary theorist René Girard
‘The past must be enriched’: An interview with leading French sociologists Luc Boltanski and Arnaud Esquerre
At Ujazdowski Castle, Warsaw, Simon’s art is a prescient critique of art-making itself
An exhibition exploring the enigmatic artist’s ‘portable studios’
The best of the off-site and collateral exhibitions during the 58th Venice Biennale
At Berlin’s Galerie Neu, a small triumph for nightlife anti-hero Daniel Pflumm, his first show at the gallery in 15 years
On the centenary of its founding in Weimar, ‘bauhaus imaginista’, which takes place in eleven countries, revisits the Bauhaus with an eye to global experiments in radical artistic pedagogy
‘The salient factor wasn’t ever its printedness; Dot Dot Dot just took its own form seriously to think about things we see and how’
For more than 50 years, the artist has used conceptual art to examine the inherently political nature of information
Art and culture have a role in describing the unevenness of the world: where do we go from here?
Two exhibitions in Tokyo celebrate the 50th anniversary of the artist's death and bring the frictions between Western and Eastern painting to light
Vienna’s annual gallery-share event provides further evidence that Europe’s smaller capitals are sustaining the most energetic artistic communities
With rare performances at Hong Kong’s Empty Gallery, and exhibiting now in Düsseldorf, the polymath has long worked at the thresholds of perception
‘When I opened Monika Sprüth Galerie, only very few German gallerists represented women artists’
