Ettore Spalletti

Experiencing Ettore Spalletti’s solo exhibition at the NMNM’s Villa Paloma — spread over three floors and seven galleries — is akin to walking through a James Turrell light installation. The immaculately white rooms dissolve the edges and absorb the shadows of the artworks on view, which appear to hover in space and meld into their surroundings. Continue reading Ettore Spalletti

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Artmonte Carlo

As we approached the centre of Monaco, the driver who picked me up at the airport pointed out one of the largest yachts in the world, dwarfing all its companions lining the main harbour. We had plenty of time to admire it since the yearly roadworks ahead of the Grand Prix de Monaco – the legendary Formula One motor race that takes over the city-state each May – meant that it took us a good 40 minutes to drive across what is apparently the second smallest country in the world after the Vatican. Continue reading Artmonte Carlo

Into The Mountain

The ‘tale of my traffic with a mountain’ is how Nan Shepherd describes her slender volume in the foreword to The Living Mountain, 1977. Curiously for a book that repeatedly asserts the essential unity of its subject – the Cairngorms in Shepherd’s native Aberdeenshire – The Living Mountain reads like an anatomy of a mountain with short, overlapping chapters addressing in turn its geological features, the elements, all the living things and creatures, including man, who form part of it and shape it. Continue reading Into The Mountain

Liina Siib: Politics of Paradise

Born and raised in Tallinn, Estonian artist Liina Siib belongs to what anthropologist Alexei Yurchak, in his seminal 2005 book Everything Was Forever, Until It Was No More, calls “the last Soviet generation”: people who came of age during the “late socialism” period, the three decades that preceded the Perestroika. Siib graduated from the Estonian Academy of Arts in 1989, when the Soviet system was in its final throes. Continue reading Liina Siib: Politics of Paradise

A conversation with Ralph Rugoff

The most relevant Venice Biennial he has seen was Francesco Bonami’s mad experiment when he had nine co-curators each do a separate section. It played with the format of the Biennale in a very radical way. Talking to Ralph Rugoff about his coming central exhibition May you live in interesting times at the Venice Biennial of 2019. ‘There’s a type of political art which promotes a particular point of view and to me that’s the opposite of what art does.’ Continue reading A conversation with Ralph Rugoff

Letter from Zacatecas

Opened in 1979, the Swiss-made funicular gliding above the silver-mining city of Zacatecas in North-Central Mexico, was the first of its kind in the country. The short ride on the recently refurbished cable car took me up to Cerro de la Bufa – the shapely hill named after a pig’s bladder (bufa) – past or rather over a sea of whitewashed and bright-coloured houses staggered on the slopes of a narrow valley that contains the city centre. Continue reading Letter from Zacatecas

Tania Bruguera: Where Art Can Work

Cuban artist Tania Bruguera’s exhibition “10,142,926” takes over Tate Modern’s Turbine Hall this fall with a series of works and interventions, including a heat-sensitive floor that uses the warmth of visitors’ bodies to reveal the portrait of a young man. In an adjacent gallery, a substance that induces tears is diffused in the air. Agnieszka Gratza spoke to the Cuban artist on the occasion of the exhibition.
Continue reading Tania Bruguera: Where Art Can Work