Anne Low, Luanne Martineau, Olga Abeleva

At L’INCONNUE, Montreal, Canada
Apr 18 Jun 8, 2019

Gruppe expo is an ongoing new online and offline branch of the Gruppe platform conceived and curated by artist Julian-Jakob Kneer. Informed by the research that is a central part of his own artistic practice, this extension of Gruppe is a subjective selection of contemporary art and media.

His first consecutive selection for Expo includes a new short film by Amalia Ulman, a new work by Yves Scherer, and works by Pierre Klossowski and Wieland Schönfelder.

Joshua Abelow, Fred Escher, Susan Classen Sullivan

At darkZone, New Jersey


April 20, 2019


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Powerful Narratives in a Semantic Space: Nora Turato

by Giovanna Manzotti

“With explained away at Kunstmuseum Liechtenstein, Nora Turato’s first-ever comprehensive solo museum exhibition, the Zagreb-born, Amsterdam-based artist explores language as a social phenomenon to be elaborated and digested in a nonstop process of reinterpretation.(…)”

Read full review by Giovanna Manzotti on Mousse Magazine.

Alex Selmeci, Szilvia Bolla

From Mar 27 – Apr 19, 2019

Curated by Nikolas Bernáth
at VUNU Gallery, Košice, Slovakia

bod [包 家 巷]
‘Stellar Star Sky’

bod [包 家 巷] delivers a rhythm experience to enlight your body and your soul.


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Jakub Choma 
@ Editorial, Vilnius
Apr 3 – May 11, 2019


@Galerie Antoine Ertaskiran, Montréal, Canada

“In the comfort of the domestic space, everyday life goes by as days elapse in simplicity. Self-care settles as a routine of meticulously calculated movements. Careful grooming and affectionate caresses, evoking self-pleasure, mingle in intimate sceneries. The experience of the banal and ennui translate into daydreaming and self-reflection. Subjects are absentminded, indulging in fantasies. Works depict moments of vulnerability, innocence and contemplation. Viewers stand as witnesses of those personal moments, unexpectedly becoming voyeurs. (…)”

Sara Anstis, Keiran Brennan Hinton, Jane Corrigan, Kim Dorland, Stephanie Hier, Laurie Kang, Marlon Kroll, Bridget Moser, Jeanie Riddle and Catherine Telford Keogh.

Apr 10 – May 11, 2019


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A Heart-Shaped Face
by Sophia Narrett & Paul Rouphail 
@Jack Barrett, New York

Jack Barrett is pleased to present A Heart-Shaped Face, a two-person exhibition featuring the work of Sophia Narrett and Paul Rouphail. Both artists—through the mediums of thread and paint respective-ly—are invested in formal arrangement. Like Zubaran’s carefully constructed “bodegones,” or Manet’s crowds, the placement of people and items possesses equal parts objectivity and sensuality. The spaces in Narrett’s and Rouphail’s work—orchestrated and rendered in seductive clarity—emphasize the strange-ness of a seemingly familiar domestic world.

March 15 – April 28, 2019

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Monia Ben Hamouda

Curated by Camilla Edström Ödemark

CC Gallery, Malmö
Apr 05 – Apr 28, 2019

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Prophecy and computation: Franco “Bifo” Berardi on
Hito Steyerl’s recent publication

Franco “Bifo” Berardi responds to Hito Steyerl’s book Duty Free Art: Art in the Age of Planetary Civil War


“The utopian thinking of functionality keeps the wheels turning, but human life does not conform to perfection. Nevertheless, perfection has taken the upper hand in the business of everyday life, and it is enforcing human bodies in a logico-mathematical confine that we are unable to escape.”

Read full review by Franco “Bifo” Berardi on Verso Blog.
& visit Hito Steyerl @ ADK Berlin and The Serpentine Galleries, London.

EXILE, Vienna
Mar 8 – Apr 13, 2019
Curated by Julius Pristauz

w/ works by Amanda Ross-Ho, Core Pan, Diana Barbosa Gil, Fette Sans, Johannes Büttner & Raphaela Vogel, Kamilla Bischof, Malte Zander, Martin Kohout, Nschotschi Haslinger, Patrick Fabian Panetta, Rafal Zajko, Tatiana Defraine, Tenant of Culture, Tilman Hornig & Paul Barsch, Vlad Nancă, Wieland Schönfelder

Scam or Die

The New Inquiry editors discuss last year’s so-called “Summer of Scam” and its endless aftermath

“Ain’t life a big fucking scam? It sure feels like it. In a world like ours, where almost everything is fraudulent or at least unfair, cheating is a way to survive. When an Inside Edition video recently went viral for “exposing” fare-beaters on New York City subways, the only people who looked stupid were the reporters. These are the scams we love. Liberal media might celebrate whistle-blowers, those heroic figures who steal data and secrets for some greater good, but there are also quieter scams at work that can never be fully revealed.(…)”

Read more at The New Inquiry.


Anna Uddenberg
@Bundeskunsthalle, Bonn, Germany

“Uddenberg’s sculptures and their staging within the exhibition space – conceived here as a kind of synthesis of the arts – seduce from the start and cajole our senses with their perfection, forms and colourfulness. The visitor nevertheless quickly understands that the artist thinks far beyond the haptic surface and provides in-depth ‘arguments’ on both a conceptual and visual level.” Photo: Gunter Lepkowski

Bundeskunsthalle, Bonn, Germany
Apr 5 – Sep 22, 2019


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Julie Beaufils, Hans Bellmer, Bianca Bondi, Nicholas Grafia, Matthieu Haberard, Stanislao Lepri, Beatrice Marchi, Hubert Marot, Daniele Milvio, Francis Picabia, Clément Roche, Julie Villard & Simon Brossard

Curated by EXO EXO
at David Giroire, Paris

Amnesia Scanner & Bill Kouligas “Lexachast IV
Directed by Harm van den Dorpel


Taken from the album “Lexachast” (PAN 83)

5 years of DASH:
A closed mouth gathers no feet

“This impossibility of reducing to any particular art movement becomes an intuitive consequence of artists work in identifying, displaying and accelerating structural mutations.”

How that happened that art is no longer dependent on interpretation and becomes able to point out mutations of meanings?

Tzvetnik‘s co-founder Natalya Serkova gives you a very plausible answer in her new essay:

Turning Tides: Anne Imhof at Tate Modern

Ella Plevin went to see “Sex” by Anne Imhof at Tate’s Tanks and wrote about it:⁣


“At a certain point watching the performers and fellow audience members (and likely mirroring their careful blankness) I thought (as I often do) of how haunted my generation is by the fact that the interfaces we used to know ourselves through might once have been the faces of others. That sex (with partners at least) is one of the last slippery places we can go to forget who we are away from the tyranny of the screen. Where we aren’t unavoidably quantified into performance behaviors, habits, interests, pathologies, imagery and other dross miscellany.”⁣

Read full review by Ella Plevin on Spike Art Magazine.
Performance view of BMW Tate Live Exhibition: Anne Imhof: Sex at Tate Modern, 2019 © Tate Photography (Oliver Cowling)


Brian Khek – ‘Capricorn LG’ 

O FLUXO monthly takeover

@ Radio Quântica

Aired on 15 Apr 2019
Artwork by Victoria Sobel/ @dreamsofspit


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