Since its beginning, photography has been used as a diary to trace personal histories. Family albums are the most typical and privileged embodiments of this practice. Then, since the seventies, the photographic diary entered into the art world through the works of Larry Clark, Nan Goldin and later Tillmans, Billingham
Sailor by Avery Singer consists of fourteen new works, occupying the entirety of the serpent-shaped basement of Secession. All of them presumably developed through Singer’s well-trodden technical style, conceived digitally through the architectural software Sketch Up, projected onto the pictorial surface, and then airbrushed in acrylic, in some cases using extensive tape masking to create densely layered compositions.
The retrospective of Wael Shawky (Alexandria, Egypt, 1971), held at the Castello di Rivoli, presents a series of film works, sculptures, and new wooden high-reliefs inspired by the Crusades and narrated from an Arab rather than a European point of view.
Condo is a large-scale collaborative exhibition of international galleries. London galleries host the show by sharing their spaces with visiting galleries – either by co-curating an exhibition together, or dividing their galleries and allocating spaces.
Published on the occasion of her exhibition at Museion, Up presents a significant sampling of Judith Hopf’s work. In her practice, Hopf has consistently addressed the paradoxes and ridicule that spill form high-minded attitudes toward art making and the faith in technology, professionalism, and efficiency.