So much of what Ader explored was about surrendering to destiny, but also about heeding internal calls — to adventure, open horizons, and the sublime.
Kimberly Bradley
Kimberly Bradley has lived and worked in Berlin since 2003, with a four-year detour in Vienna in the late 2010s. Her writing has appeared in many publications including ArtReview, Art-Agenda, and the New York Times. She teaches at NYU Berlin, and recently, with the Salzburg Summer Academy of Fine Arts, published Navigating the Planetary as a co-editor.
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What Does It Mean to “Collaborate” With Another Species?
The majority of the art in Mutual Aid: Art in Collaboration with Nature is still based on human manipulations of or interventions into natural processes.
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The Embodied Eroticism of Louis Fratino’s Art
In today’s algorithm-driven world what has become of embodied eroticism, of desire, of seeking and celebrating beauty, of intimate vulnerability, or vulnerable intimacy?
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The Unapologetic Femininity of Isabella Ducrot’s Textile Art
Her meticulously assembled, labyrinthine stitches, sketches, and scribbles are like narrative threads weaving their way through a rich life.
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Architectural Reimaginings of Le Corbusier’s Only African Project
Many responses to the Villa Baizeau in two exhibitions take up the notion of memory — and the idea of how life affects the built environment, and vice versa.
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How Can Artists Best Represent Neurodiversity?
Nico Vascellari’s “Alessio” confronts us with our own humanity through this piece, which unapologetically shows alternate ways of being human.
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Dreaming of Eternities in the 14th Shanghai Biennale
The biennale dives into ancient cosmologies, current issues, and futurist dreams through a cinematic lens.
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Lee Lozano’s Dropout Boogie
In this age of self-promotion and careerism, there’s something stunning, and inspiring, about the integrity of someone who had the courage just to leave.
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Is That How You Pronounce … ?
It’s embarrassing admitting this, but in looking back over my many mistakes operating in the art world, some of my most egregious errors regard the names of the people populating it — how easy it is to get some of them wrong.
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Thoughts on Stefan Simchowitz from Berlin
BERLIN — He’s back, but he never truly went away. Art collector/dealer/advisor/“flipper” Stefan Simchowitz, by virtue of a long exposé in the New York Times Magazine on Sunday, is again on the lips and fingertips of artists, art pros, and now mainstream culture vultures everywhere.
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Pawel Althamer’s Family Secrets
BERLIN — Here in northern Europe the leaves are turning colors at an alarming rate. In the US, Labor Day came and went. But in Greece it’s still summer-summer — meaning there’s still time to visit the island of Hydra and see Polish artist Pawel Althamer’s rather anti-spectacular exhibition at the Deste Foundation Project Space Slaughterhouse.
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Has Biennial Culture Gentrified the Art World?
BERLIN — The eighth Berlin Biennale opened last week and runs until August 3. Reactions so far have been mixed, but one thing is certain: We Berliners have never before hosted such a “global” biennial.