“Art history hasn’t shown much interest in the social and economic conditions of art and its relation to the history of the art market.”
In his latest book From Roman Feria to Global Art Fair, From Olympia Festival to Neo-liberal Biennial: On the “Biennialization” of Art Fairs and the “Fairization” of Biennials, curator and writer Paco [...]
By Michele Robecchi
About two years ago, an extraordinarily fortuitous circumstance occurred. Unbeknownst to one another, in the boardrooms of several art institutions scattered around the globe, staffers were having the same conversation at the same time. Whether initiated by people at the helm, team members or trustees interested enough to participate, it pretty much revolved around this basic question: [...]
By Michele Robecchi
Personal relationships-even when at the mercy of exhaustive public scrutiny or documented by copious correspondence-remain intricate, intangible affairs. It is difficult to establish when and how they effectively start, finish (if they really do) and shape the people involved. They form a constantly mutating world made of mysteries, nuances and innuendos, [...]
By Michele Robecchi
There were great expectations last spring when Ruben Östlund’s film The Square was premiered in Cannes. Finally, so it seemed, the contemporary art world would be the recipient of a well-researched, intelligent, and caustic study safely distant from the vapid clichés that have dominated every production on the subject so far. [...]
By Michele Robecchi
Over the course of his remarkable career, Damien Hirst, among other things, has collected art. The bulk of this collection, mostly made of swaps arranged with his fellow YBA associates, grew with time to include the work of household names he admired in his youth, emerging artists he thought would [...]
By Michele Robecchi
From 1972 to 1981, Jimmie Durham didn’t show any art publicly. This wasn’t due to inertia or lack of inspiration, but to an interest in activism that led him to enroll as a worker in the American Indian Movement (AIM), the Native American human and civil rights advocacy group founded in [...]
By Michele Robecchi
Ever since its first apparition in the middle of the 2000s, the work of Kelley Walker has seemingly courted controversy. His smearing with toothpaste and chocolate-cream enlarged magazine covers featuring African-American ladies or historical photographs of civil rights fights, it is not foolhardy to say, has generated one of the most [...]
By Michele Robecchi
Take a stroll around gallery exhibitions and art fairs around the world these days and the increasing tendency of dealers and curators to dig into the past seems to be still going in full swing. In all fairness, it has to be said that for a long time the whole phenomenon [...]
Le Commun - Geneva
Curated by Michele Robecchi and Anny Serratí
By Katharina Holderegger
Situated in the historic industrial building complex formerly known as the SIP Factory, next to the Museum of Modern Art, the Contemporary Art Center, the Center of Photography, Le Commun is a venue where exhibiti ever-present ons can be curated on application-a [...]
