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2 months ago | 
artreview.com | Louise Benson |Jenny Wu |Alexander Leissle
Our editors on the exhibitions they’re looking forward to this month, from Sharjah Biennial 16 to Pap Souleye Fall in New YorkSharjah Biennial 16: to carryVarious venues, 6 February–15 JuneSharjah Biennial 16, titled to carry, presents an exploration of the things that we hold – physically, emotionally and culturally – across time and space.
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2 months ago | 
asianamericans.einnews.com | Louise Benson |Jenny Wu |Alexander Leissle
Our editors on the exhibitions they’re looking forward to this month, from Sharjah Biennial 16 to Pap Souleye Fall in New YorkLuke Willis Thompson, Whakamoemoeā, 2025. Courtesy the artist, Coastal Signs, Tāmaki Makaurau Auckland and Galerie Nagel Draxler, Cologne/BerlinSharjah Biennial 16: to carryVarious venues, 6 February–15 JuneSharjah Biennial 16, titled to carry, presents an exploration of the things that we hold – physically, emotionally and culturally – across time and space.
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Nov 27, 2024 | 
the-tls.co.uk | Karen Leeder |Alexander Leissle |Dinah Birch |Kate Mcloughlin
When asked which historical female figure he would most like to dine with, Umberto Eco named the renowned medieval beauty Uta von Naumburg “above all others”. The same impulse appears to have been true of Günter Grass, if we are to take at face value a little story discovered in his archive and first published in Germany as Figurenstehen: Eine Legende (2022), seven years after his death.
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Nov 27, 2024 | 
the-tls.co.uk | Alexander Leissle |Dinah Birch |Karen Leeder |Kate Mcloughlin
Picture this: a green silk sofa and a “Chinese” coffee table lit by Tiffany lamps; a copy of Bunte, a gossip magazine, faded and splayed open to reveal a picture of a blurry, besoffen Prince Ernst August von Hannover; a fly quivering against the window, “fatally drowsy”; an octogenarian woman “hunched crookedly, smiling” in the doorway, her face “bruised, ruined … puffy from vodka and phenobarbital”. “Mama”, says our narrator.
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Nov 27, 2024 | 
the-tls.co.uk | Dinah Birch |Alexander Leissle |Karen Leeder |Kate Mcloughlin
Bernhard Schlink was thinking about moral responsibility and redemption long before The Reader (1997; Der Vorleser, 1995) first appeared. One of Germany’s most distinguished legal academics, he became a judge in 1988 and began to publish fiction at about the same time. His first novels feature a detective called Selb (“Self”), a man haunted by his former complicity with the Nazi regime.
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Oct 18, 2024 | 
thequietus.com | Bobby Barry |Alexander Leissle
There is certainly a canon of videogame soundtracks, much as its cinematic cousin may overshadow it: Gustavo Santaolalla’s lonely, foreboding guitarwork for The Last of Us (2013); Akira Yamaoka’s Silent Hill (1999) infused experimental and abrasive electronics with featherlite melodies, like the best of Aphex Twin’s <i>Druqks</i> (2001); Trent Reznor’s very Trent-Reznor-sounding Quake (1996); Yuzo Koshiro’s 16-bit clubtracks for Streets Of Rage 2 (1992); et cetera.
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Jun 19, 2024 | 
artreview.com | Alexander Leissle
Tkačenko’s I Could Live In Hope at Eugster, Belgrade remembers the slowcore band, and a past he can never retrieve‘Low was an American indie rock band from Duluth, Minnesota, formed in 1993 by Alan Sparhawk and Mimi Parker.’ This is the only information presented in Serbian artist Saša Tkačenko’s exhibition I Could Live in Hope, titled after the band’s 1994 debut album. The sentence is acetone-printed small onto a pale brown plasterboard, a poster-sized work titled The Band (all works 2024).
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Jun 10, 2024 | 
artreview.com | Alexander Leissle
In drawing out a seemingly bizarre historical immigrant experience, Lebanese artist Joyce Joumaa reminds us how little has changed todayBefore Memory Contours (2024) can be seen, it can be heard. The sound of waves: a million droplets hissing as they move independently but in disordered unison.
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May 2, 2024 | 
artreview.com | Alexander Leissle
From Fukushima to the primal body, Yoi Kawakubo and Nao Matsunaga’s Time Capsule at Yamamoto Keiko Rochaix, London explores ways of making meaning beyond languageTwo years after the Fukushima disaster in 2011, Japanese artist Yoi Kawakubo visited the exclusion zone – some 30 square kilometres of land abandoned after the Daiichi Nuclear Power Plant meltdown following a devastating earthquake and tsunami – and attempted to photograph what was left there. His camera, though, remained in its case.
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May 2, 2024 | 
thequietus.com | Alexander Leissle
If you’ve got an email address, you’ll have seen them before. ‘Your computer has alerted us that it is infected with virus and spyware!’; ‘Looking for kidney donor anywhere in the world’; ‘You have a donation of 3,500,000 Euros from Scott Godfrey!’. Delete; delete; open, seduced by curiosity – then delete. The above examples are also all lifted from Social Engineering, Berlin-based producer Jan Jelinek’s new album.
