AN EYE FOR AN EYE

What you get in fairs is that some work is designed just to induce fast emotions, what we in Holland call “noble kitsch”.

One of the things I understood from early on was that art was a symbol of systemic inequity.

When some ideas are taken too far from their context, they become meaningless.

It is particularly fitting that The Connaught should have invited one of Britain’s most significant living artists to create its Christmas tree.

Being marginalised in any way doesn’t necessarily make you progressive.

Yet if artists can leverage the institution's tendency to confuse symbolic and actual political action, this same ambivalence can also serve the interests of the institution. For instance, the semblance of self-criticism and a move toward cultural inclusivity can have direct economic benefits for the museum.

The art world abounds with political generalisations and euphemisms that allow us to perform a kind of radicality without ever challenging the structures we function within.

First we have to build in gold, after that silver, titanium, stainless steel, copper… these materials won't end up in the garbage, but poor materials will.

Dominated by print and impossible to curate, books – so many beautiful books – were piled and stacked and laid out everywhere, melting together to become a indistinct mass of visual noise.

This is a fine curatorial strategy to avoid standing for anything, refusing any claim or argument: a meaningless pair of tautologies akin to Ludwig Wittgenstein’s famous phrase 'It is either raining or it is not raining.'

Art tourists, including the Documenta curators, come to live in their disaster zone for a while, smell the Exarcheia smells and hear its sounds, before catching their free Aegean Airways flights to Kassel to do their proper business.

Liberté, égalité, Jean-Paul Gaultier

Another Biennale with a seemingly random selection of artists veiled in specious rhetoric. A classic combo.

What is your impression of me, by the way?

Emily Ratajkowski explains her Met Gala gown.

Posthuman artist and body-dramatist Xavier Cha is hosting a conceptual performance as part of the Lyon Biennale on October 19th and 20th.

Sometimes I take a helicopter to travel to my farm, but I don’t live a luxurious lifestyle.