Polly Staple


    Maria Eichhorn is preoccupied with the symbolic order produced by capital flows—the value of money and the signification of art, for example—as much as with the very real impact that power structures have both on our bodies and on the politics of daily life. Through processes of translation, analysis, documentation, negotiation, and exchange, her interventions disturb the order of things and enact transformative, systemic change. The Migros Museum für Gegenwartskunst brings together twelve works created by Eichhorn over the past thirty years, exhibiting site-specific

  • Luke Willis Thompson

    Luke Willis Thompson’s work makes for uncomfortable viewing. Always spare and elegant in presentation, his unsettling installations, performances, and films unflinchingly scrutinize power relations, race, and representation. For Kunsthalle Basel, Thompson is producing a new single-screen 35-mm film projection, which will occupy the entire upper floor. This will be the third film in a trilogy of sorts exploring subjecthood, appropriation, trauma, mortality, and care; the first two, produced in 2016 and  2017, respectively, feature portraits of individuals whose lives

  • 15 Stavropoulou, Athens. Building and plot for Maria Eichhorn’s Building as unowned property, 2017. Photo: Stathis Mamalakis.


    MEETINGS, CONTRACTS, REGULATIONS, the intricacies of official protocols, and the arcane workings of government agencies: Maria Eichhorn deploys the components of the administrative everyday in radical and counterintuive ways, using whatever resources are available to her—an exhibition budget, say, or access to a building or site—to create works that perversely elude easy definition and anarchically tilt at the impossible. Her projects are often the result of lengthy negotiations that reveal and trouble systems of value and redirect flows of power and capital. The effects of these

  • Trisha Donnelly, Untitled, 2014, digital video, color, silent, 4 minutes.

    Polly Staple

    1 TRISHA DONNELLY (SERPENTINE GALLERY, LONDON; CURATED BY EMMA ENDERBY AND MICHAEL GAUGHAN) Donnelly’s consistent refusal to conform to conventional exhibition formats has allowed her to create something increasingly rare in our age of nonstop streaming media: an old-fashioned space for contemplation. Yet there is nothing quaint about the profound sonic, visual, and intellectual experience of her work itself, which was in full evidence here: New video and sound works were paired with sculpture and site-specific interventions that responded to changing light throughout the day. The show’s