THE SWISS PAVILION USES FILM TO MANIPULATE ARTWORKS AS THEATRICAL PROPS OF A THEMED ‘EXPERIENCE’

DIRK BRAECKMAN’S POST-PHOTOGRAPHY MIGHT BE HELPFUL TO RESTORE OUR FAITH IN PHOTOGRAPHY IN AN ART WORLD SATURATED BY THEM

THE ANTHROPOCENE PROJECT. A KEYNOTE BY DIPESH CHAKRABARTY

I AM SORRY BUT PHYLLIDA BARLOW’S ‘FOLLY’ IN VENICE IS A DERIVATIVE BORE

GEORGIAN SENTIMENTAL ‘READY MADES’ MIXED WITH ARTIFICIAL DECAY AT THIS YEAR’S BIENNALE

ISRAEL SHOWS THAT MOLD IS THE NEW BLACK AT THE VENICE BIENNALE

HOLLY WOOD! AT THE ROYAL MUSEUM OF FINE ARTS IN BRUSSELS…

HAPPINESS

MARADONA PROVES THAT ONE CAN VERY EASILY GET SOME METH IN THE UAE

I LOVE TOM HARDY’S SMALL COCK

THE VERY BORING INVERTED PROPAGANDA OF THE HUNGARIAN PAVILION AT THE VENICE BIENNALE

HAS KATHY GRIFFITH GONE TOO FAR?

LINKING PRESIDENTIAL CORRUPTION WITH PORN, A BILLBOARD IN CENTRAL BUENOS AIRES HAS BEEN HACKED WITH OBSCENE IMAGES AS A FORM OF PROTEST

THE DUTCH PAVILION AT THE VENICE BIENNALE SHOWS HOW MODERNIST ARCHITECTURE HAS BEEN USED AS AN INSTRUMENT TO DEPLOY SOBRIETY TO CONCEAL A SLAVE TRADING INTOLERANT NATIONAL MIND SET

THE FIRST OF NINE CHAPTERS OF THE CURATORIAL SCRIPT OF THIS YEAR’S VENICE BIENNALE RAISES THE RIGHT QUESTIONS BUT FAILS AT ADDRESSING THEM

THE OTHERS

THE VENICE BIENNALE’S PAVILION OF JOYS AND FEARS TRANSFORMS THE MORAL MANDATE OF ARTISTS TO SHOW US THEIR INNER SELVES INTO A ‘GENEROUS EXCEPTION’

EXPLANATORY TEXTS DISPLACE ARTWORKS AS THE RELEVANT OBJECT TO BE DISPLAYED AT THIS YEAR’S VENICE BIENNALE’S FIRST ‘CHAPTER’ REMINDING US OF THE NEED TO HAIL THE WORK OF THAT SELF PERPETUATING BUREAUCRACY CALLED CURATORS

THE 57TH VENICE BIENNALE CLAIMS ITS NEO-HUMANIST CREDENTIALS BUT OPENS UP WITH A STAGED PERFORMANCE WHERE THE ARTIST IS PRESENTED AS A FASHION MODEL

‘DA CARAVAGGIO A BERNINI’ AT ROME’S SCUDERIE DEL QUIRINALE IS A SHOW THAT BACKFIRES BECAUSE OF ITS DISHONESTY AND LACK OF SUBSTANCE

AT CENTRALE MONTEMARTINI, PRESENT DAY ROMANS CONSIDER THEMSELVES PROGRESSIVE BUT, IN FACT, THEY SHOW THEIR PARALYSING OBSESSION WITH THE PAST

MY LIFE AS AN ARGENTINE HOMOSEXUAL

IN TIMES OF SMARTPHONES, CAN PAINTING BE MORE THAN A TOOL FOR STATUS DIFFERENTIATION OR MERE ORNAMENT? VISITING ‘REVOLUTION: RUSSIAN ART 1917-1932’ MIGHT HELP YOU FIND AN ANSWER

DUE TO GREAT PUBLIC DEMAND, THE VIDEO ON SOCIOPATHIC ART DEALERS MARINE TANGUY & ROD BARTON IS BACK FOR YOU TO WATCH

BANKSY OPENS ‘THE WALLED OFF’ HOTEL IN FRONT OF THE ISRAELI WALL IN BETHELEM

MY DEAR FRIEND, ARTIST ANGELA LYN OPENS HER MEGA-SHOW IN TAIPEI AND A YEAR AGO I VISITED HER IN HER STUDIO IN LUGANO (SWITZERLAND) WHERE WE CHATTED… A LOT!

HOLLYWOOD HAS HUMILIATED ITSELF TRYING TO REMAIN RELEVANT IN TIMES WHEN YOUTUBE IS SHAPING THE WAY WE ENTERTAIN OURSELVES

WHITECHAPEL ART GALLERY’S DIRECTOR, IWONA BLAZWICK USES THE GUERRILLA GIRLS SHOW TO SECURE HER POSITION BUT FUNDING IT WITH A DONATION FROM (WIFE OF WEALTHY GUY) CATHERINE PETITGAS MAKES THE ARTISTS COME ACROSS AS BUREAUCRATIC AND HYPOCRITICAL

‘MOONLIGHT’ SHOWS US THAT SOMETIMES A SILENT LOOK IS WORTH MORE THAN A HUSBAND, TWO KIDS AND A SWIMMING POOL

I AM MOVING HOUSES AND I AM REALISING THAT MY RELATIONSHIP WITH OBJECTS HAS BECOME AS UNCOMMITTED AS IT IS WITH PEOPLE SINCE FACEBOOK AND TINDER STARTING TO DOMINATE OUR LIVES

THE RISE OF THE WEAPONISED ARTIFICIAL INTELLIGENCE PROPAGANDA MACHINE THAT IS ALTERING ELECTION RESULTS ALL AROUND THE WORLD

IN TIMES WHEN HIPSTERS TRY TO GLAMORISE OLD IDEAS OF RAW CAPITALISTIC PIONEERING, ‘ASSEMBLE’ REMINDS US OF THE RESPONSABILITY THAT WE ALL HAVE IN PROTECTING THE IDEA OF ‘THE COMMON’BUT FAILS TO PRESENT IT AS ‘ART’

TODAY IS MY BIRTHDAY AND I AM TRYING TO ORDER A CAKE IN HIPSTER HACKNEY BUT I AM SCARED

AT WHITE CUBE MASON’S YARD, A KOREAN ARTIST TURNS ‘MINDFULNESS’ INTO PAINTINGS (AND IT WORKS!)

DONALD TRUMP AS VENUS FOR TABOOFART.COM

NOT EXPLORING JACKIE’S RELATIONSHIP WITH HER SON BEFORE JFK’S FUNERAL IS LARRAIN’S WORST MISTAKE IN HIS MINIMALISTIC HOLLYWOOD BIOPIC

AUSTRALIAN IMPRESSIONISM AT THE NATIONAL GALLERY SHOWS COWBOYS AS SURFERS AND THE LAND AS THE SEA

‘LA LA LAND’ AND THAT VERY TRUMPIAN NATURALISATION OF MONEY OVER LOVE

MARIA BALSHAW IS THE PROTEGÉE OF A RATHER GANGSTERISH TATE TRUSTEE CALLED TOM BLOXHAM WHO EMBODIES THE SORT OF POLITICAL CORRECTNESS THAT PUSHES ARTS INSTITUTIONS TO GET BIGGER AND BIGGER WITH TAX PAYERS’ MONEY

HOW CRITICAL MUST THE SITUATION BE IF CONSERVATIVE MICHAEL GOVE APPEARS TO BE MORE IN TOUCH WITH WHAT ART SHOULD BE THAN THE TURNER PRIZE?

NAN GOLDIN AT MOMA: DIARIES OF A CUNT?

IN THE LAND OF COMMODIFIED POLITICAL CORRECTNESS, CARMEN HERRERA GETS A SHOW AT THE WHITNEY

CHILEAN ALEJANDRO ARAVENA STRUGGLES TO FIND A PURPOSE FOR ARCHITECTURE AT THE LATEST VENICE BIENNALE (IN ISTAMBUL, HOWEVER, EYAL WEIZMAN CATCHES OUR ATTENTION)

ABSTRACT EXPRESSIONISM AT THE ROYAL ACADEMY: THE SHOW THAT LEAVES CLEMENT GREENBERG WITHOUT A POINT

THE 32nd SÃO PAULO BIENNIAL IS A POLITICALLY CORRECT MONOLOGUE THAT DOES NOT EVEN DARE TO TALK ABOUT POLITICS

DO NOT USE EXPEDIA! THEY WILL ONLY ROB YOUR MONEY!

A BLACK SCULPTOR DEMANDS YOUR ATTENTION, PLEASE (AT THE NATIONAL PORTRAIT GALLERY)

ARTIST JWAN JOSEF (RICKY MARTIN’S NEW BOYFRIEND) OPENLY PLAGIARISES TURNER PRIZE NOMINEE, ANGELA DE LA CRUZ

WANNA BE A TATE CURATOR? THINK TWICE…

MARK WALLINGER’S EXPLORATION OF THE SELF AT THE FREUD MUSEUM FALLS INTO ITS OWN TRAP