Klein: ‘Key Change’Darja Bajagić @ Carlos/Ishikawa reviewedAn interview with Chloe WiseAnne Imhof @ Hamburger Bahnhof reviewed<i>The Plant Show</i> @ 99¢ Plus Gallery reviewedFrieze London 2016 reviewedGhislain Amar, <i>Amar Amar</i> (2016) exhibition photosA look back at ABC BerlinAn interview with coucou chloéMorag Keil @ Eden Eden reviewedJulien Nguyen @ Freedman Fitzpatrick reviewedAn interview with NAKEDAlex Ito @ AA|LA reviewedKyle Petreycik, <i>As Is</i> (2016) exhibition photosReading Alberto García del Castillo’s <i>Retrospective</i>An interview with Rianna Jade ParkerIvana Basic @ Annka Kultys reviewedMr. & Mrs. Philip Cath @ Almanac reviewedAn interview with Berry PattenA memorandum for Where is Ana Mendieta?


  • The Babble On group exhibition was on at New York’s Rockaway Topless, which ran from July 2 to July 17, 2016.
    Curated by Jenni Crain & Brent Birnbaum, the project featured work by Nadia Belerique, Lili Huston-Herterich, and Laurie Kang.
    The site-specific installation became a space for “no answers, a facilitation of intimacies, negotiations and friendships in the making.” The artists re-created a fountain-cum-well with benches for sitting, talking and observing with an additional sound element via the feature’s spout, using the water directly from Rockaway Beach.
    “Hi – it’s been some time, I hope you remember me. We first met at the pavilion where we accidentally rubbed shoulders. I saw you through slivers of light as…

  • “All of a sudden there’s a key change and you feel a certain way”, says Klein about the influence of the voice and Gospel in her music. As part of aqnb‘s ongoing video series made in collaboration with Video in Common, the London-based producer and performer talks about her influences spanning the breadth of the internet, from Kim Burrell to Pavarotti, and how it feels to be a self-taught musician and artist being embraced by the greater “electronic realm”.
    Klein released her first EP Lagata on September 1, where she produces a unique blend of athletic vocal exercises that clash and combine with noisy ambience to produce a very visceral, very singular sonic experience.**

    Watch the video embedded above.

  • John Bohl (with anonymous) presented A Place Before a Name at Baltimore’s online space Wild Flower, from July 18 and ongoing.
    Curated by Michael Bussell, Wild Flower is a series of exhibitions that happen in the Maryland city’s Leakin Park for the sole purpose of documentation and existing online.
    Bohl’s series of paintings, with an anonymous collaborator, are hung on twigs and small nails; the structure itself is ruins of what is thought to have been either the original care taker of the estate’s home or a spring house.**
    John Bohl, ‘Untitled’ (2016). Installation view. Photo by Michael Bussell. Courtesy the artist + Wild Flower, Baltimore
    John Bohl’s A Place Before a Name ongoing…

  • A necessary exhibition isn’t always a pleasant exhibition. Darja Bajagić’s Nobody Knows I’m Funny, running at London’s Carlos/Ishikawa from September 21 to October 20, is about as far from a pleasant experience as is possible in an art gallery. The show consists of pieces involving various media, but the viewer is immediately confronted by three works on canvas of women’s heads, one being the severed one of Bianca Brust, apparently strangled to death by a black metal band member and, if the accompanying publication included as part of the exhibition is to be relied upon, beheaded and photographed for the delectation of some of the…

  • The Saint-Cirq Lapopie Biennale was on at various locations around the French village from July 23 to 30, 2016.
    Curated by Pierre-Alexandre Mateos and Charles Teyssou, the Biennale took place in a Potemkin village nestled on a hill in the stony region of Lot in south of France and featured work by US and French based artists Cédric Fargues, Aidan Koch, Richard Phillips, Bunny Rogers, Mindy Rose Schwartz and Anna Solal.
    The site-specific work was installed in various public places in the area (abandoned house, church, street, cemetery) and explored the relative authenticity of this ‘perfect’ village, emphasizing its artificial Disney-ification within the idyllic pastoral vision; too unreal to live…

  • Michael Rocco Ruglio-Misurell‘s solo exhibition Object 55 was on at New York’s Stephen and George Laundry Line, which ran July 29 to August, 2016.|
    Located in a backyard of Ridgewood in Queens, the installation uses laundry drying racks as a foundation for hanging sculptural materials and paintings using resin, wood, and fiberglass. The so-called “über-construction of domestic disarray” plays with the everyday uncanny of household labor in the exhibition space that is “literally on a laundry line”.
    Object 55 combines pop culture with entropic forms in what the press release calls a staged happening that mimics this interior work, along with its external surroundings, including the fire escapes of nearby buildings: “Giving a sense of deflated materiality, Rocco offers a dissociated reference to…