Jan Verwoert considers the history of Manifesta, European politics and whether an art exhibition can unlock the historical potential of a place
Jan Verwoert pays homage to Robert Linsley – a brilliant thinker, passionate painter and, moreover, a generous person
Jan Verwoert on friction between the creative worker and the local boardroom
The strange persistence of class difference in art
Since the mid-1990s, Henrik Olesen has taken apart clichés about gay identity and turned the pieces into visceral installations, sculptures and collages
The psychologically charged paintings of 16th-century artist Lorenzo Lotto explore hermeticism and the ‘pure profane’
Jan Verwoert writes about the 1990s, ‘New Innocence’, popular TV shows and the ethics of profanity
Working through abjection and attraction, the sculptures of the late Alina Szapocznikow engender the politics of emotion
Cracking the codes of Conceptual art
Working in the field of art makes it very difficult to draw a line between a professional and private life. What’s the best way forward?
Can a piece of writing ever precisely convey what the writer wants it to?
Kunstverein, Hamburg, Germany
Theodor Adorno's centenary
Kölnischer Kunstverein, Cologne, Germany
Nationalgalerie, Berlin, Germany
Lucy McKenzie
Various Venues
Jan Verwoert on Franz West
Hamburg Kunsthalle, Germany
Marko Lulic
