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I sat with Christian Kerez in a Milanese apartment, in which he houses his home and architecture office. In the sequence of spaces one tiny room has six doors and a single door divides 3 zones of the flat. The art in his practice is to simply describe the medium. In doing so Christian Kerez offers a zero-degree architecture, where space is revealed and not designed.
For Joan Jonas, April marks the culmination, through two major exhibitions, of a career whose scope is as vast as America itself, providing an opportunity for all of us to experience the length and breadth of her oeuvre.
In this original story, Samuel Rutter envisions an afternoon with fictional lepidopterist Matt Damon. The dreams themselves are having dreams in a way that reminds me of Sebald or the Saragossa Manuscript. Even when seated, the narrator engenders a dizziness in the reader. Once standing, dizziness gives way to benign vertigo—a pleasant spin around a butterfly house. Rutter has the rare ability to maintain a sense of bonhomie and comfort while the narrator's thoughts flit and spiral.
It is hard to believe, but Florian Pumhösl has begun to dig even deeper into the strata of modernism—this time, though, his excavations are real and not just figurative. For more than two decades, the Austrian artist has methodically explored the legacy of abstraction.
My outdoor sculptures and walking locations are not subject to possession and ownership. I like the fact that roads and mountains are common, public land.