Alexandra Metcalf and the totalities of current lifeby Piero BiselloA take on the recent artworks by New York-based Alexandra Metcalf: the crafts, the themes, the feels, the wonders
Laura Langer: coordinates, constellations, corporealityby Luzie MeyerBoth in its formal explorations and in its content matter, the work of Laura Langer, like that of a poet, is driven subconsciously
Doris Guo: traces of people, places, and politicsby Victoria DurnakFrom the relationship between mother and daughter to Sino-American culture, which Doris Guo resolves with the grace of the concept
Institutional negotiations: on the art of Daniel de Paulaby Jacopo Crivelli ViscontiSocietal commentary permeates the neo-conceptualism of Brazilian artist Daniel de Paula, evoking art's potential in the polis of today
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
