Timetable

October 2022

On Kim Farkas’ vesical sculptures

Luzie Meyer: a desire to acquire, to multiply oneself

New voices in painting: an interview with gallerist Claas Reiss

September 2022

Kyle Thurman: beyond the night’s philosophy

Brussels Gallery Weekend 2022: five top solo exhibitions

June 2022

Four picks from Liste 2022

Justin Chance: running a sewing machine through a picture plane

May 2022

An interview with Isabella Ritter of LambdaLambdaLambda

Three emerging favourites at Art Brussels 2022

April 2022

Julien Carreyn: a malicious pleasure to watch from afar

Niklas Taleb: staging privacy with no cunning

The immaculateness of Andrea Mantegna

March 2022

Tõnis Vint and the search for the universal visual language

Stella Zhong and many confusing scales

February 2022

International Galleries Alliance: the benefits of joining forces for the art market

January 2022

Evolution of a quasi-movement

December 2021

November 2021

Ottaviano Nelli the rough

Naoki Sutter-Shudo, monuments and icons

Wojciech Bakowski: dream-like narratives (an interview)  

Henrik Potter: HINGE

October 2021

Italian silent film divas in their photographic postcards

September 2021

At the show with artist: Elena Ricci encounters Frans Masereel

August 2021

July 2021

On Giulio Romano’s tableware designs

Paolo Pagani and the marvels of transformation

Justine Neuberger: coughing up a strand of angel hair

June 2021

Sofía Hernández Chong Cuy and the Kunstinstituut Melly (an interview)

Josefine Reisch: if history is a stage

May 2021

April 2021

Elene Chantladze: where art lands

Horace Pippin is a misunderstood realist

Frankenstein Magazine is out for a game

March 2021

HC: thinking with more than one mind

Mike Winkelmann, aka Beeple, is not Roger Federer

February 2021

The best six art fabricators

Bringing light and liberation: Dalila Dalléas Bouzar

Marta Gnyp’s explanation of the art world today