4 October 2020



© Melanie and Stephanie Hausberger

Art is always a joint endeavour for Melanie and Stephanie Hausberger. Since their studies at the New York School of Visual Arts, the Austrian-born identical twin sisters have been creating all their works – especially drawings and paintings – together. Their visual language reveals the influence of art from the era of classical modernism – Pablo Picasso, Ernst Ludwig Kirchner, and above all, Egon Schiele shine through. Although their works are figurative and representational, they display a high degree of abstraction. After finishing their studies, Melanie and Stephanie Hausberger travelled a lot, but they have also set up a small studio in the Tyrolean Alps.      

14 April 2020


Inscriptions of an Immense Theatre_Still from single channel film, colour, sound, 2018.
Ailbhe Ní Bhriain “Inscriptions of an Immense Theatre “, Film Still, 2018 © the artist

Ailbhe Ní Bhriain is presenting “Inscriptions IV”, her fourth solo exhibition at Domobaal Gallery in London, including her photographic, tapestry and sculptural works. In our interview she spoke about her collaboration with an algorithm and her recent video works selected for the Artists’ Film Festival.  

3 April 2020


Andy Graydon_The Transect courtesy and © the artistAndy Graydon, "The Transect in Three or Four Modes of Observation" (2018), courtesy and © the artist

Andy Graydon works with sound, performance and video. In his works he often questions and analyzes the coherence and compatibility of art and science, which I find most intriguing in terms of our understanding of nature. Andy and I met in Berlin a few years ago, and since then continued exchanging ideas on displacement, islandness and the role of fiction for future imaginaries. A short excerpt from our long lasting conversations to be continued… 

4 February 2020


Marianna Simnett, The Bird Game (film still), 2019. Courtesy the artist, FVU, the Rothschild Foundation and the Frans Hals Museum Marianna Simnett, The Bird Game (film still), 2019. Courtesy: the artist, FVU, the Rothschild Foundation and the Frans Hals Museum

In 2018, just after the New Museum in New York, the Museum für Moderne Kunst / MMK Zollamt, in Frankfurt hosted an exhibition that presented Marianna Simnett's immersive five-channel video installation Blood in My Milk (2018). I visited this work more than five times with different friends and colleagues. Rewriting narratives grotesquely, this work of Marianna Simnett stayed with me for months, causing flashbacks to multiple references in the 73-minute film, such as its sensual and often shocking images, sounds and dialogues. In her practice, she plays with barely-visible borders between reality, fiction and politics, while Simnett places herself into the scripts not only as the storyteller, but also the sorcerer, the observer and, eventually, the artist. Simnett’s current solo exhibition My Broken Animal continues at the Frans Hals Museum in Haarlem until 23rd of February. We had a conversation about how fables and tales, processes of excess and Surrealism play into her practice, and about how she became to be an artist in the first place.

13 January 2020


Hell Gette 7_ArtfridgeWithTitle

Hell Gette manages to perform the balancing act between analogue and digital media effortlessly: while travelling, she works on plein air watercolours, paints on the iPhone or iPad and creates abstracts from depictions of nature with Photoshop. She paints the resulting images in oil, photographs them and inserts emojis via mobile apps. Finally, these pictures are transferred back to the canvas in oil paint. Hell calls the results "#Landscape 3.0". At the age of five, she arrived in Germany from Kazakhstan. She studied painting with Markus Oehlen at the Academy of Fine Arts Munich from 2012 to 2017. At the end of her studies, she was awarded the debutante prize of the Bavarian Ministry of Culture.

25 November 2019


Magasin III - Tal R-5406 copy
Tal R "Natten (The Night)", 2019 (Detail); ": Men Who Can't Sit on Horses" at Magasin III Jaffa, Photo: Noam Preisman

Tal R is one of Denmark's most influential artists, known particularly for his unique use of colour. Recently his show “: Men Who Can’t Sit On Horses” opened at the Museum Magasin III Jaffa in his birth city Tel Aviv. The exhibition includes only one commissioned painting, which has the exact same measurement as Pablo Picasso’s “Guernica” from 1937: 3,49 meter high and 7,77 meter wide, "Natten" (The Night) took Tal R about 9 months to finish. A conversation about bittersweet tragedies.

26 October 2019



To make visible the ongoing call-for-action for equal rights and fair payment in the arts, the researchers and artists Ahmet Öğüt and Burak Arıkan founded the outstanding online platform Code of Acquisitions. The website allows users to submit experiences and cases they had with an arts organisation and from the collected data it visualises complex mappings showcasing the institutions's or gallery's practices. These personal and disquieting experiences between artists, art practitioners and institutions are usually discussed in small, closed networks and they are often considered as unprecedented local system malfunctions. The platform, however, shows how these unspoken issues are embedded in the core of the global art system and how we can have alternative possibilities of collective discourses and support methodologies. 

7 October 2019


Mariana Cánepa Luna & Max Andrews from Latitudes. Photo © Eunice Adorno (2012)
Mariana Cánepa Luna & Max Andrews from Latitudes. Photo © Eunice Adorno (2012)

I met the curator Mariana Cánepa Luna during her talk with the Spanish artist Lara Almarcegui at her current exhibition “Agras Volcano. Mining Rights” at the IVAM in Valencia. Afterwards we had such a lively discussion on the discourse of the Anthropocene and environmentally-engaged art that I felt the need to deepen our conversation even further. Together with the curator Max Andrews, in 2005 Mariana founded the curatorial office Latitudes, based in Barcelona. As they write, their current research focuses on “material narratives, biographies of objects, and a world-ecological perspective on art histories”. An interview with two pioneers on their curatorial practice and writing about the urgency of a geological understanding of the world, how to “think with” and from a perspective of different objects and the challenges of curating…