Achraf Touloub: paintings as facts of themselvesby William KherbekBreaking lines and signs, saying the opposite of what it seems: an introduction to the paintings of Achraf Touloub
Kate Mosher Hall: perceptual limbos and moiré-noirsby Leila PeacockA reflection on the not purely painted - but not just printed - canvases of Los Angeles artist Kate Mosher Hall
It’s dark but just a frame: the drawings of Kyung-Meby John BelknapWho and what exactly appears in the drawings of New York-based artist Kyung-Me, one asks, getting lost in their rich darkness
Famous questions and the paintings of Sofia Silvaby Kristian Vistrup MadsenThe paintings of Sofia Silva do not want to please. Here, questions are prompted as to what they offer instead
Sophie Reinhold: don’t get used to itby Paolo BaggiThe coated, fetishistic superficiality in the art of Sophie Reinhold engages a political agency built on a powerful sense of carnivalesque joy and hope
Pretty hurts: the skinny legends of David Rappeneauby John BelknapThe storytelling technique of David Rappeneau is realism brushed with the fantastic. His neo-libertines seduce the communally divine
Challenging the perspective: on the art of Nina Zeljkovićby Jelena DakonovicNina Zeljković in the Eugster || Belgrade booth at Artissima 2022 was a gem from the fair’s emerging sector. Here is a take on her art
Kelly Tissot: altered spacesby Yann Chateigné TytelmanThrough photographs and sculptures, Kelly Tissot channels the spectres of life in what she terms “the abandon promise of the rural utopia”
In love: on the art of Angharad Williamsby Stefano FaoroSpending time with Angharad Williams’ work raises some questions: how much does an artwork exist? What are the politics of latency?
Three stages of image reificationby Sofia SilvaA personal introduction to the art of Daniel Graham Loxton, Matthew Peers, and Jens Fröberg
On Kim Farkas’ vesical sculpturesby Stefano PirovanoKim Farkas pursues the Kantian idea of the manifold forming a unity as a concept that leads to pleasure (and the first edition of Paris +)
Luzie Meyer: a desire to acquire, to multiply oneselfby Céline MathieuA conversation with Berlin-based artist Luzie Meyer on threading bodily presence, disorientation and the formation of selves
Kyle Thurman: beyond the night’s philosophyby John BelknapA departure from history’s headlines, a lucid dream of armored giants: a comprehensive essay on the art of Kyle Thurman
Justin Chance: running a sewing machine through a picture planeby Samantha OzerJustin Chance utilises a material structure of dissemination to speak to broader issues of political networks and the power of language
Cassidy Toner, gambling as a career planby Paolo BaggiCassidy Toner stages repeated artistic misfires to better diffuse anxiety, pressure to perform, or the legibility of an artwork
Vera Palme’s self-operating subjectsby Kristian Vistrup MadsenVera Palme’s work generates a certain gut feeling in the viewer, where gut is the distinct opposite of the German “gut”–good—but not in a distinctly bad way
Julien Carreyn: a malicious pleasure to watch from afarby Oriane DurandA reflection on the art of Julien Carreyn, whose small-scale paintings and photographs seduce you to come close, very close even
Niklas Taleb: staging privacy with no cunningby Piero BiselloSomehow staged and performed, yet down-to-reality, the art of Niklas Taleb presents his private sphere without an annoying sense of cunning
Hélène Fauquet, resolution in spaceby Céline MathieuReflective things absorbing light and soft surroundings: an open-ended reading of the work of Hélène Fauquet
Stella Zhong and many confusing scalesby Piero BiselloIn its richness, a Stella Zhong painting, just like a Zhong sculpture or installation, is a little extra universe added to the current one
