Kate Sutton

  • Nazar Strelyaev-Nazarko, Basement View, 2022, oil on panel, 11 3⁄4 × 11 3⁄4". From the series “watergames (Plóshcha Svobódy),” 2022. From “Extraneous.”


    The exhibition “Extraneous” was a quietly devastating addition to this year’s Curated By festival. Assembled by Zasha Colah and Valentina Viviani, the compact group show took as its emblem the Indian tradition of leaving a matka, a clay pot of drinking water, on the street for thirsty passersby as an act of communal hospitality. Foregrounding generosity as a response to violence, the exhibition opened with a series of staggered pedestals, each bearing a sculpture in shades of slate and both fired and unfired clay. Part of Margherita Moscardini’s ongoing project The Fountains of Za’atari, 2015–,

  • View of “Diana Tamane: Flower Smuggler,” 2022.
    picks November 22, 2022

    Diana Tamane

    Diana Tamane wields her camera as a means to get to know those closest to her, producing psychological portraits steeped in an alert stillness. In recent years, the artist has turned her lens on her family members’ individual relationships to photography. For instance, Blood Pressure, 2016, collates the backs of family photos that her great grandmother had used to jot down her daily medical information, while Sold Out, 2016, gathers her father’s snapshots of goods he had imported from Central Europe—a lightly-scratched silver Volvo, a Pioneer record player, and a set of standing speakers,

  • Marwan Bassiouni, New British Views #6, 2022, pigment print on fine art paper mounted on Dibond, 65 × 49 1/5".
    picks November 02, 2022

    Marwan Bassiouni

    Marwan Bassiouni’s ongoing series of photographs “New British Views” (all works 2022) offers landscapes of a changing terrain marked not only by the continuing fallout from Brexit but also by the stagnant social policies of a country that has yet to fully reckon with its evolving demographics or the lasting legacies of its eclipsed empire. Printed at a near life-size scale, the images have an astonishing clarity about them; the window-framed vistas of urban Lidls, old English churches, row houses, and suburban streets studded with minivans and sensible sedans feel, at times, almost three-dimensional,

  • The Grand Palais Éphémère. Photo: Paris+ par Art Basel.
    diary October 28, 2022

    Plus Ça Change

    CORSETED IN CONSTRUCTION SITES, Paris may be visibly bracing itself for the 2024 Summer Olympics, but there’s been another kind of restructuring going on in its art world. While the city has nourished (or indulged) its homegrown scene for decades, the recent arrival of blue-chip transplants like Gagosian, Zwirner, and soon, Hauser & Wirth (which is plotting an Olympic-scaled takeover of a hôtel particulier) has ushered in the much-ballyhooed resurgence of the city as an international art hub. More specifically, the continental set see it as an alternative to London in the post-Brexit world (a

  • David Fesl, Untitled, 2021, smooth brittle star, plasterboard grid, plasterboard grid cover, tile adhesive, hot-melt glue, varnished beech wood, wood putty, metal ointment tube cap, birch bark, trekking stick tip, 6 × 3 1/4 × 1 7/8".
    picks October 03, 2022

    “I Had a Dog and a Cat”

    Organized by Hana Ostan Ožbolt, “I Had a Dog and a Cat” is a nimble group show that pays tribute to artist and self-professed “old child” Josef Čapek’s 1929 children’s book, All About Doggie and Pussycat: How They Kept House and All Sorts of Other Things. Like the house-pet protagonists, the works on display dabble in a kind of understated domestic bliss, marked by the quiet mischief of the self-entertained.

    Working together with artist David Fesl, Ožbolt developed an exhibition design that nixes artificial illumination in favor of natural light. This simple gesture emphasizes the architectural

  • Julian Rogers, Ranch Hand, 2021, oil on canvas, 48 x 36".
    picks July 29, 2022

    Julian Rogers

    This July, NASA released the first pictures from the James Webb Space Telescope, forever altering the precision with which we visualize the cosmos. The images’ aesthetics, however, are unsettlingly familiar, with their twinkling stars and smudge-like spiral galaxies drawing comparisons to bowling-alley carpets and the covers of pulp paperbacks.

    With the exhibition “Wave Upon Wave,” Julian Rogers taps into a similar vibe as he turns our gaze skyward through a series of sunsets and cloudscapes rendered with exquisite verisimilitude. Rogers previously worked in the studios of Jeff Koons and Bjarne

  • Jasmina Cibic, The Gift, 2021,4K three-channel video, color, sound, 23 minutes 43 seconds.
    interviews May 20, 2022

    Jasmina Cibic

    Through her films, images, installations, and objects, Jasmina Cibic pulls back the curtain on hegemonic powers, exposing the formulations and ideologies that create and maintain political authority. Cibic’s latest exhibition, “Most Favoured Nation,” on view from March 5 until June 12 at the Museum der Moderne Salzburg, features, among other recent work, a major new installation for which the artist surveys the crumbling state of Europe.

    IN 1920, in the wake of the First World War, the city of Salzburg resolved to return humanity to a Europe that had been completely desecrated: socially,

  • Katharina Fritsch, Elephant, 1987. Installation view in the Central Pavilion. All photos, unless noted: Kate Sutton.
    diary April 22, 2022

    Sweet Dreaming

    THERE ARE TWO KINDS OF PEOPLE in this world: those who really listen when they hold a seashell to their ear and those who don’t. Cecilia Alemani’s exhibition “The Milk of Dreams,” the main project of the Fifty-Ninth Venice Biennale, is for the former. Titled after a whimsical children’s book by Leonora Carrington, the show harbors a dark-kerneled exuberance, embracing sensuality, sentimentality, and spirituality to yield a surprising light, even joy.

    Alemani’s biennale was delayed due to Covid, and she clearly spent the extra time wisely. You can feel the research saturating the rooms. Of the

  • Artefacts from S. Raoul’s final dig, 2013. From Shubigi Rao’s History’s Malcontents: The Life and Times of S. Raoul (Institute of Contemporary Arts Singapore, 2013).


    THIS IS A BANNER YEAR for Shubigi Rao. Born in Mumbai but based in Singapore, the artist is representing her adopted country at the Fifty-Ninth Venice Biennale and participating in the Asia Pacific Triennial. Rao is also the curator of the Fifth Kochi-Muziris Biennale, which will open in December after a delay of two years. Yet for someone wielding such clout, Rao has a prickly relationship with authority and the vectors of power and knowledge. She has rarely bowed to the pressures of the art market, bucking convention with back-to-back multiyear projects that defy the churn of the commercial

  • View of “Latifa Echakhch: The Concert,” 2022, Swiss pavilion, Venice. Photo: Annik Wetter.


    IN DEVELOPING THE PROJECT for the Swiss pavilion, I knew I wanted to make a radical break from what I had been doing before. The Venice proposal was an opportunity for me to unlearn my way of working as a visual artist and approach the exhibition as a musician. To help me, I recruited the curator Francesco Stocchi, who, in his former life, was a DJ of dub music. I also invited the musician and composer Alexandre Babel. I know how I project visual art in space, but I wondered what happens in his brain when he’s projecting music.

    I read all this fantastic history of sound and composition. I took

  • Fulterer & Scherrer, untitled (from the series “Studs #2”), 2021, acrylic and pleather on stretcher, 27 1/2 x 19 1/2".
    picks March 09, 2022

    Fulterer & Scherrer

    Fulterer & Scherrer’s exhibition “Studs” revels in the multiple meanings of its title, electrifying the gallery with an erotic charge that never takes itself seriously. While increasingly complicated in composition, the three series on display—“Studs #1,” 2019–20, “Studs #2,” 2021, and “Studs #3,” 2022—all share a similar structure. To start, artists Gabriele Fulterer and Christine Scherrer (a duo since 2007) have applied a blocked-out palette of black and DayGlo to bare wooden frames. Spanning the void of the pictorial space are scraps of soft, silver-studded pleather stretched taut, à la H&M

  • View of “Kristian Kožul: Intercisus,” 2021.
    picks October 21, 2021

    Kristian Kožul

    In a 2017 essay on Croatian artist Kristian Kozul, critic Klaudio Štefančić ties the sculptor’s biomorphic objects to his interest in forensics and its recognition of the human body as the ultimate unimpeachable witness. In more recent presentations, it has seemed like Kozul is experimenting with the possibility of perjury. Staged under the dome of the Meštrović Pavilion at Bačva Gallery, his 2018 solo show “Forensic Folklore: The Archipelago” offered an atmosphere somewhere between that of a space-age fitness center, a locker room, and an abandoned laboratory. Would-be protheses—almost-arms