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Spike’s new issue focuses on painting, asking what the digital means for a code that is made and remade over long spans of time, in feedback loops and in dialogue with history.
Looking for answers, we turned to artists Ei Arakawa, Rachel Rose, Leidy Churchman and Antek Walczak; interviewed the Swiss painter Nicolas Party; organised a talk on the digital sublime at the Venice Biennale with writer Tom McCarthy and curator Nicolas Bourriaud; and talked to Hans Ulrich Obrist about what it was like curating one of the legendary painting exhibitions of the 1990s, The Broken Mirror.
Olivier Mosset tells us about his artist friends and favourite pictures. MoMA curator Laura Hoptman writes about a painting of cherry blossoms given to her by the late Bill Lynch. Artist Clément Rodzielski performs a reality check at Monet’s water-lily pond in Giverny, and Travis Jeppesen calls out “zombie criticism” in defence of the new abstract painting. New York-based critic Bob Nickas writes on Julia Wachtel as a model of picture-making in the age of infotainment. Curator Daniel Baumann compares Albert Oehlen‘s paintings to an Internet protocol. Andrew Berardini traces the “nonshouting feminism” of Lily van der Stokker, while Eva Fabbris explains the renewed relevance of Giorgio Griffa.
There are also pieces on the American musician Holly Herndon‘s new album Platform; the software Affectiva, which knows what you feel from looking at your face; and All the King’s Horses, a novel by the Situationist Michèle Bernstein.
In addition, our writers give their take on the Venice Biennale, Mark Leckey at Kunsthalle Basel, Andrea Fraser at the Museum der Moderne Salzburg, Rem Koolhaas’s new building for the Fondazione Prada in Milan, Cory Arcangel at Espace Louis Vuitton in Munich, Dóra Maurer at Galerie im Stadtpark Krems, Susan Philipsz at Theseustempel in Vienna, Cyprien Gaillard at Sprueth Magers Berlin, and more.
Plus: an image portfolio with works by Amelie von Wulffen, Marilyn Minter, Katherine Bernhardt, Ned Vena, and Ulrike Müller. And the entrepreneur Rafael Horzon opens our new column “The End is Night” with a rip-roaring account of Gallery Weekend Berlin.
Now online: Our new magazine Spike Art Daily
On Spike Art Daily you’ll find conversations, recommendations, and reviews; views into studios and Instagram accounts, and long gallery tours. You’ll find documentation of exhibitions, talks, and openings, columns, essays, and incisive commentary on the goings-on of the day. On top of that, we’ll be making the archive of Spike’s ten-year history accessible over time.