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

A COLLECTION VALUED IN THE BILLIONS OF DOLLARS IS HIDDEN IN IRAN

WHEN FORM SIMULTANEOUSLY ENACTS TRIBUTE TO AND CRITIQUE OF THE ACADEMY

REPRESENTING HOMOSEXUAL DIGNITY THROUGH AMPHIBIOUS PAINTING: BHUPEN KHAKAR AT TATE MODERN

TRUMPIRACE

AT TATE MODERN, TANYA BARSON MANAGES TO TURN GEORGIA O’KEEFFE INTO A DULL DOLL

THE FILM ‘HIERONYMUS BOSCH: TOUCHED BY THE DEVIL’ ARGUES THAT THERE ARE MORE THAN TWO HANDS BEHIND THE SIGNATURE

MARY HEILMANN SHOWS US WHAT EXCESSIVE CYNICISM CAN DO TO A SERIOUS ARTISTIC PROJECT IN HER WHITECHAPEL ART GALLERY RETROSPECTIVE

KEITH SONNIER PUTS DAN FLAVIN IN HIS PLACE AT THE WHITECHAPEL ART GALLERY

KAREN KILIMNIK’S LAZY OPPORTUNISM AT 303 GALLERY

CONTEMPORARY ART WORLD MITOMANIACS: THE MARINE TANGUY CASE

PAINTERLY EXPRESSION JOINS THE READY MADE, THE COLLAGE AND COLOUR AS IMAGE IN THE MODERNIST PANTHEON OF WORTHY ART

THE FERAL IN ALL OF US AS A WAY OF AVOIDING CHANGE (AND PERSONAL GROWTH): RYAN TRECARTIN IN ANDREA ROSEN

IN ‘BRUCE CONNER: IT’S ALL TRUE!’ (MOMA) AND ‘OROZCO, RIVERA, SIQUEIROS: THE PENDING EXHIBITION’ (MNBA BUENOS AIRES), CURATORS PUSH ART ASIDE TO HONOR THE FOUNDING FATHERS OF THEIR PROFESSION (AND SHOW MUSCLE)

WHAT’S THE POINT OF ARCHITECTURE IF WE SPEND MORE TIME IN BED AND LOOKING AT SCREENS THAN WALKING AROUND?

THE NEW TATE MODERN IS A TOTEM AIMED AT EXORCISING LONDON’S FEAR OF BECOMING IRRELEVANT

HOW TO MAKE ART WHEN TECHNIQUE SEEMS TO HAVE BEEN HIJACKED BY SOCIAL INCLUSION AS THE IDEOLOGY OF THE ‘POLITICAL CORRECT’ ART BUREAUCRACY

LOTS OF BAD ART AND EUROPEAN GUILT AT THIS YEAR’S MANIFIESTA IN ZURICH

ART AS ALCHEMY: THE LOST WORLD OF EDIBLE FESTIVALS

FROM A PICTORIAL POINT OF VIEW, GUILLERMO KUITCA’S HOMMAGE TO PINA BAUSCH AT HAUSER & WIRTH IS A DISASTER

IT IS NOT THE ROLE OF A MUSEUM TO GUARANTEE A DEMOCRATIC AND INCLUSIVE EDUCATION

FIASCO AT THE MASI ARTE E CULTURA IN LUGANO: HOW NOT TO CURATE A SHOW BASED ON A COLLECTION GATHERED AS IF GOOGLING THE WORD ‘NEWSPAPER’

WITH HIS DRONEPORT, NORMAN FOSTER CONFIRMS THE CRISIS OF ARCHITECTURE