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Spike #76 is dedicated to the artist. From the ultracontemporaries to those whose success came too late to be enjoyed, this issue is about aging, enduring, and surviving death, in their works as much as their stories. How can an artist emerge in our oceanic present, faced with the internet’s image infinity, a penetrating market, and ever murkier prospects? And why, having emerged, do some artists fail – what kills their careers? Barry Schwabsky looks at early periods versus late styles, Cindy Sherman talks about abstracting getting older, and Lauren Elkin suggests a way out of the snares of biography by re-centering art itself. Curious to know how the story ends (and begins again)? Then pick up a copy and see for yourself what an artist’s life adds up to. PURCHASE EPAPER →

ISSUE 76 (SUMMER 2023): An Artist's Life

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Spike #75 fêtes the museum in all its stuffy, messy, showy, old-timey glory, as a home-away-from-home, the address of solace and astonishment. We feel the heavy load it bears after centuries above the fray – to decolonize collections and cheerlead justice, to backdrop local potlatches and global photo-ops, to do all this more with less – and adore it for looking none the worse for wear. This issue is a guestbook to be leafed through at half-light, to be reminded among all the petitions to should of what the museum already is: a trove of our symbols and the histories they shift for; a stubborn beauty mark amid everything’s turning smoother; an agora and a target and a legacy of timeless becoming. If it is a half-light of dawn, let it be a new chapter; and if dusk, then a eulogy of many voices. Featuring Pope.L, Simon Wu, Louise Lawler, Ben Davis, Ann Demeester, Anthony Hudek, Meschac Gaba, Bernadette Van-Huy, Ghislaine Leung, Estelle Hoy, Tea Hacic-Vlahovic, and many more. PURCHASE EPAPER →

ISSUE 75 (SPRING 2023): The Museum Issue

Spike #74 is getting over beauty. The dawn quatrains and swan courtships we remember in rose tint – all that sublime uplift – we need to cut contact. Beauty might have become corny behind the monolith of our infatuation, or maybe it was gutted and discarded as art became another instrument of moral debt. Whatever it is, it’s changed, and it’s clear we’ve long been in love with decadence or emptiness. So this is our missive to beauty for all that it’s been and may yet be: a magnetic evil and the very eye of its beholders; a blank invitation and a reason to blush; and power or propaganda camouflaged as makeup compacts and endless streams of Instagram tags. Featuring K Allado-McDowell, Lynne Tillman, Vaginal Davis, Sylvie Fleury, Sianne Ngai, Boris Groys, Billy Tang, Joanna Walsh, Stephanie LaCava, Dean Kissick, Rita Ackermann, Yves Klein, Emily Segal, Harumi Yamaguchi, Daniel Baumann, Quinn Latimer, and many more. 184 pagesPURCHASE EPAPER →

<p dir="ltr" class=""><span class="">Spike #74 is getting over beauty. The dawn quatrains and swan courtships we remember in rose tint – all that sublime uplift – we need to cut contact. Beauty might have become corny behind the monolith of our infatuation, or maybe it was gutted and discarded as art became another instrument of moral debt. Whatever it is, it’s changed, and it’s clear we’ve long been in love with decadence or emptiness. </span></p>
<p dir="ltr" class=""><span class="">So this is our missive to beauty for all that it’s been and may yet be: a magnetic evil and the very eye of its beholders; a blank invitation and a reason to blush; and power or propaganda camouflaged as makeup compacts and endless streams of Instagram tags. <br></span><br><span data-mce-fragment="1">Featuring K Allado-McDowell, Lynne Tillman, Vaginal Davis, <meta charset="utf-8">Sylvie Fleury, Sianne Ngai, Boris Groys, Billy Tang, Joanna Walsh, Stephanie LaCava, Dean Kissick, Rita Ackermann, Yves Klein, Emily Segal, Harumi Yamaguchi, Daniel Baumann, Quinn Latimer, and many more.</span><br></p>
<p><meta charset="utf-8"><span data-mce-fragment="1">184 pages</span><br><br><a title="SPIKE EPAPER (ISSUE 73)" href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-74-after-beauty"><strong data-mce-fragment="1">PURCHASE EPAPER →</strong></a><br><br><br></p>
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ISSUE 74 (WINTER 2022-2023): After Beauty

To live means to be exposed, to be vulnerable, and seek safety. But what if we give up control and don’t try to cover the wounds any more? Could we ultimately transcend to openness? This is one of the core questions Spike asks in its autumn issue. From the imperfections of the body to automated text generators, from poor images to pop stars. Spike #73 is about art’s soft underbelly, why writing in first person is a risk, why humans fear each other, and grappling with grief, paranoia, and intoxication. Let’s find out what happens if we take off our shells. Featuring McKenzie Wark, Marlene Dumas, Tosh Basco, James Richards, Raimundas Malašauskas, Joanna Walsh, Kandis Williams, Mire Lee, Gustav Metzger, Rob Horning, Tea Hacic-Vlahovic, Constance Debré, Luca Lo Pinto, Simone Forti, and many more. 160 pages PURCHASE EPAPER →

<p><meta charset="UTF-8"><span data-mce-fragment="1">To live means to be exposed, to be vulnerable, and seek safety. But what if we give up control and don’t try to cover the wounds any more? Could we ultimately transcend to openness? This is one of the core questions Spike asks in its autumn issue. From the imperfections of the body to automated text generators, from poor images to pop stars. Spike #73 i</span><span data-mce-fragment="1">s about art’s </span><span data-mce-fragment="1">soft underbelly, why writing in first person is a risk, why humans fear each other, and grappling with grief, paranoia, and intoxication. Let’s find out what happens if we take off our shells. </span><br data-mce-fragment="1"><br data-mce-fragment="1"><span data-mce-fragment="1">Featuring McKenzie Wark, Marlene Dumas, Tosh Basco, James Richards, Raimundas Malašauskas, Joanna Walsh, Kandis Williams, Mire Lee, Gustav Metzger, Rob Horning, Tea Hacic-Vlahovic, Constance Debré, Luca Lo Pinto, Simone Forti, and many more.</span></p>
<p><span data-mce-fragment="1">160 pages</span></p>
<p><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-73-vulnerability" title="SPIKE EPAPER (ISSUE 73)"><strong>PURCHASE EPAPER →</strong></a></p>

ISSUE 73 (AUTUMN 2022): Vulnerability

In Spike #72, we put the art world’s money launderers, tax evaders, forgers, and brutes on trial. But we don’t stop there. Our inquisitiveness leads us to bigger questions, like: Is “crime” only defined by its evil twin “justice?” Are our rights and wrongs only norms to be probed? How do we rewrite past injustices? But then, isn’t rupture needed for change? Is acting outside the law the only way to dream of a better world? Grab a copy of “Art & Crime” and dirty your mind with the liberty of villains, Russian high rollers, the metaphysics of shoplifting, prison literature, fashion crimes, psychopaths, and more. Featuring: Asco, Darja Bajagic, James Bridle, Tea Hacic-Vlahovic, Sam Kriss, Stéphane Mandelbaum, Arlette-Louise Ndakoze, Cady Noland, Brad Phillips, Tommaso Pincio & Francesco Tenaglia, Tobias Timm, and many more. PURCHASE EPAPER →

<p><span>In Spike #72, we put the art world’s money launderers, tax evaders, forgers, and brutes on trial. But we don’t stop there. Our inquisitiveness leads us to bigger questions, like: Is “crime” only defined by its evil twin “justice?” Are our rights and wrongs only norms to be probed? How do we rewrite past injustices? But then, isn’t rupture needed for change? Is acting outside the law the only way to dream of a better world?</span></p>
<p><span>Grab a copy of “Art &amp; Crime” and dirty your mind with the liberty of villains, Russian high rollers, the metaphysics of shoplifting, prison literature, fashion crimes, psychopaths, and more.</span></p>
<p><span>Featuring: Asco, </span><span>Darja Bajagic</span><span>, James Bridle, </span><span>Tea Hacic-Vlahovic, Sam Kriss, Stéphane Mandelbaum, Arlette-Louise Ndakoze, Cady Noland, Brad Phillips, Tommaso Pincio &amp; Francesco Tenaglia, Tobias Timm</span><span>, </span><span>and many more.</span></p>
<p><a href="https://member.spikeartmagazine.com/products/spike-epaper-issue-72-art-and-crime" title="Spike #72 ePaper"><strong data-mce-fragment="1">PURCHASE EPAPER →</strong></a></p>

ISSUE 72 (SUMMER 2022): Art and Crime

For Spike #71 we’re seeing double. This one is all about couples, dedicated to partnerships in life, love, law, and labour. Whether you’re a serial monogamist, married to your job, or sublimating your crushy feelings into all that you create, it’s tough to deny the role that romance – or its conspicuous absence – plays in shaping our psyches and senses of ourselves. Might coupling be key to seeing beyond the self, opening us up to a more expansive, collaborative (co)existence? And do relationship breakdowns parallel wider social strife? Can the dusty old dyad be reconceived as radical? What happens when art-world couples blend business and pleasure? Curl up with your soul mate – or settle into singledom – and grab a copy to read about the uses of love beyond love; the motivation posed by muses and rivals; psychoanalytic takes on partners’ promises; along with artist-couples, curatorial duos, rom-com heroes, spectres, fembots, and beyond. With Chris Kraus, Asa Seresin, Whitney Mallett, Alenka Zupančič, Johanna Hedva, Sam Kriss, Calla Henkel & Max Pitegoff, Genesis & Lady Jaye Breyer P-Orridge, Darian Leader & Jamieson Webster, Eva & Franco Mattes, Tea Hacic-Vlahovic, and many more. PURCHASE EPAPER →

<p data-mce-fragment="1">For Spike #71 we’re seeing double. This one is all about couples, dedicated to partnerships in life, love, law, and labour. Whether you’re a serial monogamist, married to your job, or sublimating your crushy feelings into all that you create, it’s tough to deny the role that romance – or its conspicuous absence – plays in shaping our psyches and senses of ourselves. Might coupling be key to seeing beyond the self, opening us up to a more expansive, collaborative (co)existence? And do relationship breakdowns parallel wider social strife? Can the dusty old dyad be reconceived as radical?</p>
<p data-mce-fragment="1">What happens when art-world couples blend business and pleasure? Curl up with your soul mate – or settle into singledom – and grab a copy to read about the uses of love beyond love; the motivation posed by muses and rivals; psychoanalytic takes on partners’ promises; along with artist-couples, curatorial duos, rom-com heroes, spectres, fembots, and beyond.   <br data-mce-fragment="1"> <br data-mce-fragment="1"> With Chris Kraus, Asa Seresin, Whitney Mallett, Alenka Zupančič, Johanna Hedva, Sam Kriss, Calla Henkel &amp; Max Pitegoff, Genesis &amp; Lady Jaye Breyer P-Orridge, Darian Leader &amp; Jamieson Webster, Eva &amp; Franco Mattes, Tea Hacic-Vlahovic, and many more. </p>
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<p><strong><a title="Spike #71 ePaper" href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-71-couples" target="_blank">PURCHASE EPAPER →</a></strong><br></p>
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ISSUE 71 (SPRING 2022): Couples

For Spike #70, we’re getting technical. Come wade with us into the OpenSea: the Web3 issue is all about the blockchain, aka the latest digital innovation that promises to either wreck or revive the art world (and world-world), depending on who you ask. Our deep-dive into this wild new frontier features everything from debates on NFT aesthetics to the feminist case for crypto; generative art as anticapitalist; scepticism at digital currency’s volatility; a polemic for the blockchain as ecological salvation; and a glimpse into Web3’s status behind the Great Firewall. Decentralised, or degenerate? Genuinely liberating for creators, or just another PR stunt pulled off by capital? Any way you slice it, crypto is taking us by storm, and we’d be mistaken to look away as new possibilities and protocols crystallise. And if you’re feeling hesitant, fear not: we’ve included a glossary walking you through all the relevant lingo, illustrated by an original selection of fresh-pressed memes. With Holly Herndon, Rhea Myers, Charles Broskoski, Constant Dullaart, Jerry Gogosian, Ruth Catlow, María Paula Fernández, Wassim Z. Alsindi, Damien Hirst, Miao Ying, Harm van den Dorpel, Sarah Friend, Kenny Schachter, Mónica Belevan, Rafaël Rozendaal, Toby Shorin, Mark Alizart, Primavera De Filippi, Elie Ayache, Simon Denny, and many more. PURCHASE EPAPER →

<p>For Spike #70, we’re getting technical. Come wade with us into the OpenSea: the Web3 issue is all about the blockchain, aka the latest digital innovation that promises to either wreck or revive the art world (and world-world), depending on who you ask. Our deep-dive into this wild new frontier features everything from debates on NFT aesthetics to the feminist case for crypto; generative art as anticapitalist; scepticism at digital currency’s volatility; a polemic for the blockchain as ecological salvation; and a glimpse into Web3’s status behind the Great Firewall. <br class="" data-mce-fragment="1"><br class="" data-mce-fragment="1">Decentralised, or degenerate? Genuinely liberating for creators, or just another PR stunt pulled off by capital? Any way you slice it, crypto is taking us by storm, and we’d be mistaken to look away as new possibilities and protocols crystallise. And if you’re feeling hesitant, fear not: we’ve included a glossary walking you through all the relevant lingo, illustrated by an original selection of fresh-pressed memes. <br class="" data-mce-fragment="1"><br class="" data-mce-fragment="1">With Holly Herndon, Rhea Myers, Charles Broskoski, Constant Dullaart, Jerry Gogosian, Ruth Catlow, María Paula Fernández, Wassim Z. Alsindi, Damien Hirst, Miao Ying, Harm van den Dorpel, Sarah Friend, Kenny Schachter, Mónica Belevan, Rafaël Rozendaal, Toby Shorin, Mark Alizart, Primavera De Filippi, Elie Ayache, Simon Denny, and many more.</p>
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<p><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-70-web3"><span data-mce-fragment="1"><span style="background-color: #ffffff;"><strong>PURCHASE EPAPER → </strong></span></span></a></p>

ISSUE 70 (WINTER 2021-2022): Web3

How do our parables and myths, fibs and fabulations create realities of their own design? The line between fact and fiction has been murky since long before “post-truth” got added to the dictionary. We’re not here to police that distinction — instead, we bust it open, untangling the politics and implications of crafting (and being crafted by) narrative. For Spike #69, we explore embellishment, auto-fiction, and all the anxiety and nonsense that lingers in between. Headless brands, philosophers reanimated in virtual reality, and social-media-savvy dogs feature among the cast of characters in this issue, disclosing the power plays and narrative networks that refashion — not just recount — the world. It’s not just hearsay. With contributions by Elizabeth A. Povinelli, Joshua Citarella, Tea Hacic-Vlahovic, Martin Herbert, Omar Kholeif, Ingrid Luquet-Gad, Sean Monahan, features on Tracey Emin, Sophie Calle, Julien Ceccaldi, Ho Tzu Nyen, and many more, as well as reviews from Hong Kong to Los Angeles to Vienna. PURCHASE EPAPER →

<div class="" data-mce-fragment="1">
<span class="" data-mce-fragment="1">How do our parables and myths, fibs and fabulations create realities of their own design? The line between fact and fiction has been murky since long before “post-truth” got added to the dictionary. We’re not here to police that distinction — instead, we bust it open, untangling the politics and implications of crafting (and being crafted by) narrative. For Spike #69, we</span><span class="" data-mce-fragment="1"> </span><span class="" data-mce-fragment="1">explore embellishment, auto-fiction, and all the </span><span data-mce-fragment="1">anxiety and</span><span class="" data-mce-fragment="1"> nonsense that lingers in between. Headless brands, philosophers reanimated in virtual reality, and social-media-savvy dogs feature among the cast of characters in this issue<span data-mce-fragment="1">, </span></span><span class="" data-mce-fragment="1"><span data-mce-fragment="1">disclosing</span> the power plays and narrative networks that refashion — not just recount — the world. It’s not just hearsay. </span>
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<p><span style="background-color: #ffffff;" class="" data-mce-fragment="1" data-mce-style="background-color: #ffffff;"><span class="" data-mce-fragment="1"><span data-mce-fragment="1">With</span> contributions <span data-mce-fragment="1">by</span> <meta charset="utf-8">Elizabeth A. Povinelli, </span></span>Joshua Citarella, <span style="background-color: #ffffff;" class="" data-mce-fragment="1" data-mce-style="background-color: #ffffff;">Tea Hacic-Vlahovic, </span><span style="background-color: #ffffff;" class="" data-mce-fragment="1" data-mce-style="background-color: #ffffff;">Martin Herbert, </span><span style="background-color: #ffffff;" class="" data-mce-fragment="1" data-mce-style="background-color: #ffffff;"><span class="" data-mce-fragment="1">Omar Kholeif, </span></span>Ingrid Luquet-Gad, <span style="background-color: #ffffff;" class="" data-mce-fragment="1" data-mce-style="background-color: #ffffff;">Sean Monahan, features</span><span style="background-color: #ffffff;" class="" data-mce-fragment="1" data-mce-style="background-color: #ffffff;"> on Tracey Emin, </span><span style="background-color: #ffffff;" class="" data-mce-fragment="1" data-mce-style="background-color: #ffffff;">Sophie Calle, Julien Ceccaldi, Ho Tzu Nyen, and many more, as well as</span><span data-mce-fragment="1"> reviews from Hong Kong to Los Angeles to Vienna<span style="background-color: #ffffff;">.</span></span></p>
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<p><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-69-storytelling"><span data-mce-fragment="1"><span style="background-color: #ffffff;"><strong>PURCHASE EPAPER → </strong></span></span></a></p>
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ISSUE 69 (AUTUMN 2021): Storytelling

Spike’s summer issue infiltrates enemy territory, probing the patriarchy and exploring the many forms it takes today. From a polemic in favour of anarchy to a takedown of Silicon Valley tech-bro tribalism, our contributors take on the powers that be, igniting debates about privilege and control hotter than Hot Girl Summer. Can women perpetuate the patriarchy? Who are the biggest daddies in the art world today? How do you become a successful artist? Also featuring portraits of the late Jack Smith, Taiwanese-born cyberfeminist pioneer Shu Lea Cheang, and a group portrait of young artists fighting the extractive identity matrix, alongside a scrumptious hit of Schadenfreude care of “Dum Dum Boys“ – because we're not above the occasional punching up. With contributions by Peaches, Slavoj Žižek, Catherine Malabou, Renate Lorenz, Ashley Hans Scheirl, Tea Hacic-Vlahovic, Simone Fattal, and many more, and reviews from Guangzhou, Vienna to Mexico City. Hate it, or really hate it, the patriarchy is is the target. Aim low. PURCHASE EPAPER →

<p>Spike’s summer issue infiltrates enemy territory, probing the patriarchy and exploring the many forms it takes today. From a polemic in favour of anarchy to a takedown of Silicon Valley tech-bro tribalism, our contributors take on the powers that be, igniting debates about privilege and control hotter than Hot Girl Summer. Can women perpetuate the patriarchy? Who are the biggest daddies in the art world today? How do you become a successful artist? Also featuring portraits of the late Jack Smith, Taiwanese-born cyberfeminist pioneer Shu Lea Cheang, and a group portrait of young artists fighting the extractive identity matrix, alongside a scrumptious hit of Schadenfreude care of “Dum Dum Boys“ – because we're not above the occasional punching up.</p>
<p>With contributions by Peaches, Slavoj Žižek, Catherine Malabou, Renate Lorenz, Ashley Hans Scheirl, Tea Hacic-Vlahovic, Simone Fattal, and many more, and reviews from Guangzhou, Vienna to Mexico City. Hate it, or really hate it, the patriarchy is is the target. Aim low.</p>
<p> </p>
<p><strong><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-68" title="Purchase our ePaper">PURCHASE EPAPER →</a> </strong></p>

ISSUE 68 (SUMMER 2021): Patriarchy

Spike’s spring issue tackles the wide, and wild, world of sports. Hear why two gallerists, Yvonne Quirmbach and Monika Sprüth, can’t be bothered to pick up their phones on football night, and how the head gardener at Wimbledon keeps the storied lawns a beautiful green. Anne Imhof talks to us about how to bend the rules, while ex-basketballer and writer JJ Bola clues into the cultures of masculinity in sport. There’s a postcard from hard-luck Buffalo, and a special section of reports on drone racing, doping, sportswear fetish, public pools, and majestic horses. Artist’s Favourites from Sharon Lockhart, Elfriede Jelinek’s Sports Play, tennis and skate wear crossovers, and some Eurythmics keep the sporty train a runnin’. With features on David Hammons’ basketball works, Ligia Lewis’ athletic choreography, Matthew Barney’s Drawing Restraint, and Rineke Dijkstra’s videos of young gymnasts, and reviews from Bangkok to Vienna to Brazil. PURCHASE EPAPER →

<p class="p1">Spike’s spring issue tackles the wide, and wild, world of sports. Hear why two gallerists, Yvonne Quirmbach and Monika Sprüth, can’t be bothered to pick up their phones on football night, and how the head gardener at Wimbledon keeps the storied lawns a beautiful green. Anne Imhof talks to us about how to bend the rules, while ex-basketballer and writer JJ Bola clues into the cultures of masculinity in sport. There’s a postcard from hard-luck Buffalo, and a special section of reports on drone racing, doping, sportswear fetish, public pools, and majestic horses. Artist’s Favourites from Sharon Lockhart, Elfriede Jelinek’s Sports Play, tennis and skate wear crossovers, and some Eurythmics keep the sporty train a runnin’. With features on David Hammons’ basketball works, Ligia Lewis’ athletic choreography, Matthew Barney’s <em>Drawing Restraint</em>, and Rineke Dijkstra’s videos of young gymnasts, and reviews from Bangkok to Vienna to Brazil.<br><meta charset="utf-8"></p>
<p class="p1"><meta charset="utf-8"><strong><a title="Purchase our ePaper" href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-67-sports">PURCHASE EPAPER →</a> </strong></p>

ISSUE 67 (SPRING 2021): Sports

This issue offers a painfully funny and personal look at the current state of the art world. Read what our nomadic tribe is doing when restrictions block the path to global jet-setting. From reflections about a new localism to the lurid fantasies of a reality TV show featuring art celebrities to wacky craft projects born out of boredom at home to thoughts about religion, poetry, and even protests. What some might call confession, Spike is calling therapy. A mix of inappropriate humour, debauchery, and weirdness. Sean Monahan pitches a new reality TV show, and curator Jeppe Ugelvig pushes us to consider an art world in slo-mo. Also featured are profiles of the performance collective Young Boy Dancing Group, American Artist, Tabita Rezeire, and Keiken, an interview with Estonian artist Kris Lemsalu, and a Q+A with Bonaventure Soh Bejeng Ndikung, Nicolette Polek, and Iman Issa. Qu Chang writes on Marge Monko’s Dear D, and artists De Gruyter & Thys tell us their favourite things. PURCHASE EPAPER →

<p data-mce-fragment="1">This issue offers a painfully funny and personal look at the current state of the art world. Read what our nomadic tribe is doing when restrictions block the path to global jet-setting. From reflections about a new localism to the lurid fantasies of a reality TV show featuring art celebrities to wacky craft projects born out of boredom at home to thoughts about religion, poetry, and even protests. What some might call confession, Spike is calling therapy. A mix of inappropriate humour, debauchery, and weirdness. Sean Monahan pitches a new reality TV show, and curator Jeppe Ugelvig pushes us to consider an art world in slo-mo. Also featured are profiles of the performance collective Young Boy Dancing Group, American Artist, Tabita Rezeire, and Keiken, an interview with Estonian artist Kris Lemsalu, and a Q+A with Bonaventure Soh Bejeng Ndikung, Nicolette Polek, and Iman Issa. Qu Chang writes on Marge Monko’s <em data-mce-fragment="1">Dear D</em>, and artists De Gruyter &amp; Thys tell us their favourite things.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-66-therapy"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 66 (WINTER 2020): Therapy

The plant kingdom is everywhere, and this issue of Spike is your field guide to these species whose future is inextricably linked to ours. Dig into mushroom networks, lie on your analyst’s sofa and find your inner flower, dream yourself into the Amazonian rainforest, and listen to the trees that are watching us. Featuring Jamieson Webster on bad flowers, Yiou Penelope Peng & Jaob Piwowarski on psychedelics, Carolyn Christov-Bakargiev on Piero della Francesca, Giuseppe Penone, and Pierre Huyghe, plus portraits of Lois Weinberger, Vivian Sutter, and Zheng Bo. We ask Natasha Myers if the trees are watching us, and Antje Majewski whether nature should have the right to procreate. And Ben Vickers interviews biologist Merlin Sheldrake on – what else – magic mushrooms. PURCHASE EPAPER →

<p>The plant kingdom is everywhere, and this issue of Spike is your field guide to these species whose future is inextricably linked to ours. Dig into mushroom networks, lie on your analyst’s sofa and find your inner flower, dream yourself into the Amazonian rainforest, and listen to the trees that are watching us. Featuring Jamieson Webster on bad flowers, Yiou Penelope Peng &amp; Jaob Piwowarski on psychedelics, Carolyn Christov-Bakargiev on Piero della Francesca, Giuseppe Penone, and Pierre Huyghe, plus portraits of Lois Weinberger, Vivian Sutter, and Zheng Bo. We ask Natasha Myers if the trees are watching us, and Antje Majewski whether nature should have the right to procreate. And Ben Vickers interviews biologist Merlin Sheldrake on – what else – magic mushrooms.</p>
<p><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-65-plants"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 65 (AUTUMN 2020): Plants

For this early-pandemic issue, we gave our contributors : an open invitation to tell us what’s in their heads right now. Whether under lockdown inside, or outside under protest, it is clear that the mind has no off-switch. Whether deeply personal, or overtly political, our authors continue to surprise with their level of insight and the playfulness of their imagination. Contributions include Shanghai-based writer Alvin Li, who documents his need for intimacy in isolation, French philosopher Catherine Malabou’s answer to the question of pleasure and thinking today, feature profiles on multimedia artist Cao Fei in conversation with curator Hou Hanru, the New York label Women’s History Museum who have been tearing down the decadence of couture for the last six years, and fashion icon Walter Van Beirendonck. PURCHASE EPAPER →

<p>For this early-pandemic issue, we gave our contributors : an open invitation to tell us what’s in their heads right now. Whether under lockdown inside, or outside under protest, it is clear that the mind has no off-switch. Whether deeply personal, or overtly political, our authors continue to surprise with their level of insight and the playfulness of their imagination. Contributions include Shanghai-based writer Alvin Li, who documents his need for intimacy in isolation, French philosopher Catherine Malabou’s answer to the question of pleasure and thinking today, feature profiles on multimedia artist Cao Fei in conversation with curator Hou Hanru, the New York label Women’s History Museum who have been tearing down the decadence of couture for the last six years, and fashion icon Walter Van Beirendonck.</p>
<p><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-64-carte-blanche"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 64 (SUMMER 2020): Carte Blanche

Dedicated to New York, this issue offers a sketch of the city through the scattered minds of those who live, or lived, there. The contributions included chart the highs, and lows, of this metropolis, from Kaitlin Phillips on the lack of virgins in the art scene in the city to Sean Monahan on why New York sucks today. The changing nature of the art world in Chelsea is discussed in an interview with gallerist Carol Greene, and MoMA PS1 curator, Ruba Katrib, reflects on Alex Bag’s semi-autobiographical portrait of an art student in New York. Cory Arcangel’s favourite new things, plus, a portrait of painter Gina Beavers, an essay on unsovereign bodies by Aria Dean, and a trip to New York Fashion Week with Natasha Stagg. PURCHASE EPAPER →

<p>Dedicated to New York, this issue offers a sketch of the city through the scattered minds of those who live, or lived, there. The contributions included chart the highs, and lows, of this metropolis, from Kaitlin Phillips on the lack of virgins in the art scene in the city to Sean Monahan on why New York sucks today. The changing nature of the art world in Chelsea is discussed in an interview with gallerist Carol Greene, and MoMA PS1 curator, Ruba Katrib, reflects on Alex Bag’s semi-autobiographical portrait of an art student in New York. Cory Arcangel’s favourite new things, plus, a portrait of painter Gina Beavers, an essay on unsovereign bodies by Aria Dean, and a trip to New York Fashion Week with Natasha Stagg.</p>
<p><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-63-the-nyc-issue"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 63 (SPRING 2020): The NYC Issue

The 2010s. We’re still feeling the effects of a decade in which transformations, transmutations, and travesties were the norm. In this issue we look back, celebrate, bemoan, and discuss what happened and why it matters today. We put together a roundtable on the decade with those who helped to influence and shape this strange and speedy period. In addition, we praise those individual art works that stood out from the pack and continue to have an impact on us today. There’s plenty of mud-slinging, as well as a portrait of the artist Kerry James Marshall. There’s music to remember, and new trends that continue to shape our cultural landscape. With contributions by Susanne Pfeffer, Paige K. Bradley, Victoria Campbell, Andrea Lissoni, and many others, who both took part in, and helped to shape, this decade of disquiet and disruption. PURCHASE EPAPER →

<p data-mce-fragment="1">The 2010s. We’re still feeling the effects of a decade in which transformations, transmutations, and travesties were the norm. In this issue we look back, celebrate, bemoan, and discuss what happened and why it matters today. We put together a roundtable on the decade with those who helped to influence and shape this strange and speedy period. In addition, we praise those individual art works that stood out from the pack and continue to have an impact on us today. There’s plenty of mud-slinging, as well as a portrait of the artist Kerry James Marshall. There’s music to remember, and new trends that continue to shape our cultural landscape. With contributions by Susanne Pfeffer, Paige K. Bradley, Victoria Campbell, Andrea Lissoni, and many others, who both took part in, and helped to shape, this decade of disquiet and disruption.  </p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-62-the-2010s"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 62 (WINTER 2020): The 2010s

Artists are leaving art capitals and even fleeing the art world entirely, just to find themselves right back where they started. We’re being grabbed by the claws of the art market and crashing into the limits of artistic autonomy. Outside of the confines of the art world, too, there’s much we want to evade, like death, depression, taxes, and our own success. But where does escape end and escapism begin? Could we think of escape as a battle cry, a rejection of terms, and a mode of non-compliance? With an essay by João Ribas, Fabrice Stroun on escapism, Rindon Johnson on escaping the art market, Max Czollek on migration, and Nancy Princenthal on Agnes Martin. Lil Internet writes about Blanck Mass’s “124” and Jeppe Ugelvig on fashion’s cannibalism. Anna Gritz sings the praises of Maria Nordman’s Room with two doors, and Francesco Bonami pens a portrait of Mauritzio Cattelan. PURCHASE EPAPER →

<p>Artists are leaving art capitals and even fleeing the art world entirely, just to find themselves right back where they started. We’re being grabbed by the claws of the art market and crashing into the limits of artistic autonomy. Outside of the confines of the art world, too, there’s much we want to evade, like death, depression, taxes, and our own success. But where does escape end and escapism begin? Could we think of escape as a battle cry, a rejection of terms, and a mode of non-compliance? With an essay by João Ribas, Fabrice Stroun on escapism, Rindon Johnson on escaping the art market, Max Czollek on migration, and Nancy Princenthal on Agnes Martin. Lil Internet writes about Blanck Mass’s “124” and Jeppe Ugelvig on fashion’s cannibalism. Anna Gritz sings the praises of Maria Nordman’s <em>Room with two doors, </em>and Francesco Bonami pens a portrait of Mauritzio Cattelan.</p>
<p><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-61-escape"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 61 (AUTUMN 2019): Escape

Immortality is a response to the widely held idea that art needs to be moral. The world’s fucked up, and the art world is guilty too, so in some ways that makes sense. It’s brought art closer to politics and activism, given it a social and political function. But art is also a place for (self-)doubt and risk and questioning. With Kenny Schachter on art market ethics, Rahel Aima’s “Big Rotten Apple”, a round table on “Cancel Culture” with Krist Gruijthuijsen, Mathieu Malouf, and Nina Power, and Martin Herbert on morally compromised art writing, Spike’s writers give room to art’s discontents. Lucia Pietroiusti writes about Felix Gonzalez-Torres, while Victoria Campbell pens a portrait of three artists whose artwork might be called sex work. PURCHASE EPAPER →

<p data-mce-fragment="1">Immortality is a response to the widely held idea that art needs to be moral. The world’s fucked up, and the art world is guilty too, so in some ways that makes sense. It’s brought art closer to politics and activism, given it a social and political function. But art is also a place for (self-)doubt and risk and questioning. With Kenny Schachter on art market ethics, Rahel Aima’s “Big Rotten Apple”, a round table on “Cancel Culture” with Krist Gruijthuijsen, Mathieu Malouf, and Nina Power, and Martin Herbert on morally compromised art writing, Spike’s writers give room to art’s discontents. Lucia Pietroiusti writes about Felix Gonzalez-Torres, while Victoria Campbell pens a portrait of three artists whose artwork might be called sex work.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-60-immorality"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 60 (Summer 2019): Immorality

What can be changed through the twists and tweaks of design, architecture, technology, infra-structure, economics, or daily routines? How can the way we eat, learn, dress, live, and talk be a way to renew ourselves, and so too our society, from the ground up? We find answers from our writers: Mat Dryhurst on designing our way out of platform capitalism, Boris Groys on Socialist Networking, and Antony Hudek on a model for a quantitative society, plus Jaya Klara Brekke and Francesco Sebregondi on Forensic Architecture. Portraits of Bless, Wu Tsang, and Peter Kubelka, and Florence Bonnefous & Pierre Joseph on the show “Les Ateliers du Paradise” (1990). Given that a different present is almost impossible to imagine and utopia is currently out of reach, in this issue we look at the non-heroic ways of doing things differently that can open our minds and make the world better. PURCHASE EPAPER →

<p data-mce-fragment="1">What can be changed through the twists and tweaks of design, architecture, technology, infra-structure, economics, or daily routines? How can the way we eat, learn, dress, live, and talk be a way to renew ourselves, and so too our society, from the ground up? We find answers from our writers: Mat Dryhurst on designing our way out of platform capitalism, Boris Groys on Socialist Networking, and Antony Hudek on a model for a quantitative society, plus Jaya Klara Brekke and Francesco Sebregondi on Forensic Architecture. Portraits of Bless, Wu Tsang, and Peter Kubelka, and Florence Bonnefous &amp; Pierre Joseph on the show “Les Ateliers du Paradise” (1990). Given that a different present is almost impossible to imagine and utopia is currently out of reach, in this issue we look at the non-heroic ways of doing things differently that can open our minds and make the world better.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-59-lifestyle-protocols"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 59 (SPRING 2019): Lifestyle Protocols

In the witching hours of the twenty-first century, magic is once again a tool with which we can change reality, but at the same time it is pervasive and pernicious, co-opted by spiritual entrepreneurism and the false gods of Silicon Valley. Collaborators Spike and Ignota Books, bid you welcome on your journey through esoteric, cybernetic, psychedelic, technoshamanic worlds that are still in the making. With texts from Porpentine Charity Heartscape on witchcraft, Elisabeth von Samsonow on modernism and the occult, Hans Ulrich Obrist on the algo séance, Matt Liston’s blockchain religion, and Erik Davis on psychedelics, plus Philomena Epps pens a text on Tony Oursler, and CAConrad and Ariana Reines talk poetry. PURCHASE EPAPER →

<p data-mce-fragment="1">In the witching hours of the twenty-first century, magic is once again a tool with which we can change reality, but at the same time it is pervasive and pernicious, co-opted by spiritual entrepreneurism and the false gods of Silicon Valley. Collaborators Spike and Ignota Books, bid you welcome on your journey through esoteric, cybernetic, psychedelic, technoshamanic worlds that are still in the making. With texts from Porpentine Charity Heartscape on witchcraft, Elisabeth von Samsonow on modernism and the occult, Hans Ulrich Obrist on the algo séance, Matt Liston’s blockchain religion, and Erik Davis on psychedelics, plus Philomena Epps pens a text on Tony Oursler, and CAConrad and Ariana Reines talk poetry.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-58-magic"> <strong data-mce-fragment="1">PURCHASE EPAPER → </strong></a></p>

ISSUE 58 (WINTER 2019): Magic

“There is no such thing as society,” Margaret Thatcher said in 1987, ushering in a dismantling of the welfare state, careerism, selfishness and lobby renovations. A rabid free-for-all for those with something; a big betrayal for those who would be left with nothing. But there was also a growing sense of community. In England workers took to the streets, in New York there were protests against the cynicism of the government’s response to the AIDS crisis. And for part of the art world, political collective engagement was more important than the market. With Dean Kissick on i-D, Natasha Stagg on 80s style, gallerist Helene Winer on the New York art scene, a conversation with Gran Fury, and Fiona Duncan on Pippa Garner, our writers bring us a universe with no fixed beginning and more ends for ever night. PURCHASE EPAPER →

<p data-mce-fragment="1">“There is no such thing as society,” Margaret Thatcher said in 1987, ushering in a dismantling of the welfare state, careerism, selfishness and lobby renovations. A rabid free-for-all for those with something; a big betrayal for those who would be left with nothing. But there was also a growing sense of community. In England workers took to the streets, in New York there were protests against the cynicism of the government’s response to the AIDS crisis. And for part of the art world, political collective engagement was more important than the market. With Dean Kissick on <em data-mce-fragment="1">i-D</em>, Natasha Stagg on 80s style, gallerist Helene Winer on the New York art scene,  a conversation with Gran Fury, and Fiona Duncan on Pippa Garner, our writers bring us a universe with no fixed beginning and more ends for ever night.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-57-the-80s"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 57 (AUTUMN 2018): The 80's

The culture wars are raging. Neoliberalism and right-wing populism have co-opted the critique of the 1960s and turned it against art, science and the democratic public sphere, while the left is consumed by infighting. This issue is about the return to battle, strategies of (dis-)engagement, and the question of what art is capable of in the aftermath of the great weirding. Along with pieces on Christoph Schlingensief, Sandra Mujinga, Marianna Simnett, new American rappers, and the influence of the right on culture across Europe, this issue features an essay by Alison Gingeras and Jamieson Webster on the failed experiment of Otto Muehl’s commune and what it can tell us about our own time. PURCHASE EPAPER →

<p data-mce-fragment="1">The culture wars are raging. Neoliberalism and right-wing populism have co-opted the critique of the 1960s and turned it against art, science and the democratic public sphere, while the left is consumed by infighting. This issue is about the return to battle, strategies of (dis-)engagement, and the question of what art is capable of in the aftermath of the great weirding. Along with pieces on Christoph Schlingensief, Sandra Mujinga, Marianna Simnett, new American rappers, and the influence of the right on culture across Europe, this issue features an essay by Alison Gingeras and Jamieson Webster on the failed experiment of Otto Muehl’s commune and what it can tell us about our own time. </p>
<p data-mce-fragment="1"><meta charset="utf-8"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-2"><strong>PURCHASE EPAPER → </strong></a></p>

ISSUE 56 (SUMMER 2018): Culture Wars

Brands such as Y/Project, Telfar, and Vetements have found new ways to pick up where the designers of the 1990s left off. Aided by strategies borrowed from art, they are transforming the fashion system from within and widening its boundaries beyond recognition. Fashion is succeeding precisely where art is not, wresting autonomy out of enormous political and social shifts. Is it now art’s turn to learn from fashion? Emily Segal and Alessandro Bava discuss art, fashion, and the contemporary; designer Andra Dumitrascu, the brand/collective Youths in Balaclava and writer Jack Self answer questions; Rob Horning on fashion as peer pressure; Matthew Linde on the origins of the fashion show; Natasha Stagg on Micro Influencing; Ella Plevin on the New York–based art collective Bernadette Corporation; and Dean Kissick talks with artist Sylvie Fleury. PURCHASE EPAPER →

<p data-mce-fragment="1">Brands such as Y/Project, Telfar, and Vetements have found new ways to pick up where the designers of the 1990s left off. Aided by strategies borrowed from art, they are transforming the fashion system from within and widening its boundaries beyond recognition. Fashion is succeeding precisely where art is not, wresting autonomy out of enormous political and social shifts. Is it now art’s turn to learn from fashion? Emily Segal and Alessandro Bava discuss art, fashion, and the contemporary; designer Andra Dumitrascu, the brand/collective Youths in Balaclava and writer Jack Self answer questions; Rob Horning on fashion as peer pressure; Matthew Linde on the origins of the fashion show; Natasha Stagg on Micro Influencing; Ella Plevin on the New York–based art collective Bernadette Corporation; and Dean Kissick talks with artist Sylvie Fleury.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-55-fashion"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 55 (SPRING 2018): Fashion

We are in an interregnum, an in-between state where the old world is dying and the new struggles to be born. Colonies of bacteria are decomposing the white cube, automation will replace work, and a hope persists that digital space will produce a truly different art. The avant-garde is still alive, but as a stateless multitude that rejects the rhetoric of power. Quantum computers are starting to compute. Features on Anicka Yi, Oliver Laric, and Gilbert & George, an essay on “post-work” by Tom McCarthy, Philippe Parreno & Asad Raza on Twin Peaks: The Return, and death of the art gallery model: a round table. We ask curator Adam Szymczyk if we need a new avant-garde, and interview Contemporary Art Writing Daily. And finally, a manifesto for the public museum.

<p data-mce-fragment="1">We are in an interregnum, an in-between state where the old world is dying and the new struggles to be born. Colonies of bacteria are decomposing the white cube, automation will replace work, and a hope persists that digital space will produce a truly different art. The avant-garde is still alive, but as a stateless multitude that rejects the rhetoric of power. Quantum computers are starting to compute. Features on Anicka Yi, Oliver Laric, and Gilbert &amp; George, an essay on “post-work” by Tom McCarthy, Philippe Parreno &amp; Asad Raza on <em data-mce-fragment="1">Twin Peaks: The Return</em>, and death of the art gallery model: a round table. We ask curator Adam Szymczyk if we need a new avant-garde, and interview <em data-mce-fragment="1">Contemporary Art Writing Daily</em>. And finally, a manifesto for the public museum.</p>
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ISSUE 54 (WINTER 2018): New Formations

Reality can’t be trusted. Elon Musk believes we live in a computer simulation, everybody is saying we live in a post-truth era, and when we buy food it comes with a guarantee that it’s real. We look at artists who have founded companies, Francesco Vezzoli’s fascination with television, the slowed-down performances of Maria Hassabi at this year’s Documenta. The stylist Ella Plevin writes about the latest Gucci campaign and Asad Raza explains why tennis has become interesting again. A Kickstarter project by the artist Emily Jacir, the current significance of the readymade, and the question of truth in documentary film. The poet Wayne Koestenbaum on porn, the philosopher Tristan Garcia on “the real”, and Gabi Ngcobo on Mmakgabo Helen Sebidi. Artists Calla Henkel & Max Pitegoff send us a postcard from Washington DC. PURCHASE EPAPER →

<p data-mce-fragment="1">Reality can’t be trusted. Elon Musk believes we live in a computer simulation, everybody is saying we live in a post-truth era, and when we buy food it comes with a guarantee that it’s real. We look at artists who have founded companies, Francesco Vezzoli’s fascination with television, the slowed-down performances of Maria Hassabi at this year’s Documenta. The stylist Ella Plevin writes about the latest Gucci campaign and Asad Raza explains why tennis has become interesting again. A Kickstarter project by the artist Emily Jacir, the current significance of the readymade, and the question of truth in documentary film. The poet Wayne Koestenbaum on porn, the philosopher Tristan Garcia on “the real”, and Gabi Ngcobo on Mmakgabo Helen Sebidi. Artists Calla Henkel &amp; Max Pitegoff send us a postcard from Washington DC.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-53-the-real"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 53 (AUTUMN 2017): The Real

The borders of fiction and reality are slipping ever further. A lot of what is behind the images on our screens remains hidden: their political utility; the algorithms through which they appear; the source of their magic. How does that change the nature of the exhibition? Is it moving from the white cube into virtual realms, into the urban fabric, into domestic spaces? Between networks, theory and the market, where is the power of exhibitions today? Also included: Alessandro Bava on the future of exhibition spaces, a review of Documenta 14 in Athens, Liam Gillick on Rirkrit Tiravanija’s exhibition “untitled (1992) free”, and a Q&A with Benjamin H. Bratton, Adriana Lara, and Rózca Farkas, who take on Instagram, exhibition idealism, and “the feed.” Portraits include Karen Kilimnik and Brigitte Kowanz; an essay on Virtual Reality by Ben Vickers, and Andros Zins-Browne in conversation with Asad Raza. PURCHASE EPAPER →

<p data-mce-fragment="1">The borders of fiction and reality are slipping ever further. A lot of what is behind the images on our screens remains hidden: their political utility; the algorithms through which they appear; the source of their magic. How does that change the nature of the exhibition? Is it moving from the white cube into virtual realms, into the urban fabric, into domestic spaces? Between networks, theory and the market, where is the power of exhibitions today? Also included: Alessandro Bava on the future of exhibition spaces, a review of Documenta 14 in Athens, Liam Gillick on Rirkrit Tiravanija’s exhibition “untitled (1992) free”, and a Q&amp;A with Benjamin H. Bratton, Adriana Lara, and Rózca Farkas, who take on Instagram, exhibition idealism, and “the feed.” Portraits include Karen Kilimnik and Brigitte Kowanz;  an essay on Virtual Reality by Ben Vickers, and Andros Zins-Browne in conversation with Asad Raza.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-52-what-exhbitions-do"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 52 (SUMMER 2017): What Exhibitions Do

The power of art and its social role are the subjects of a roundtable discussion with curator Chus Martínez, artist Michaela Meise and philosopher Dieter Lesage. Josef Strau talks about how art saved him, while Kenny Schachter finds it both a remedy and a defence. Daniel Baumann delves into the promise of form; for the critic Jan Verwoert a key function of art is that it teaches forms of conduct. Profiles on the painter Dorothy Iannone and her connections to Fluxus, and the Japanese artist Tetsumi Kudo and his “philosophy of impotence” are joined by pieces taking on the decline of the supermodel, the Netflix series The Crown, and Jimmie Durham’s retrospective at the Hammer Museum.

<p data-mce-fragment="1">The power of art and its social role are the subjects of a roundtable discussion with curator Chus Martínez, artist Michaela Meise and philosopher Dieter Lesage. Josef Strau talks about how art saved him, while Kenny Schachter finds it both a remedy and a defence. Daniel Baumann delves into the promise of form; for the critic Jan Verwoert a key function of art is that it teaches forms of conduct. Profiles on the painter Dorothy Iannone and her connections to Fluxus, and the Japanese artist Tetsumi Kudo and his “philosophy of impotence” are joined by pieces taking on the decline of the supermodel, the Netflix series <em data-mce-fragment="1">The Crown</em>, and Jimmie Durham’s retrospective at the Hammer Museum.</p>
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ISSUE 51 (Spring 2017): Can Art Help?

The family as structure, model, metaphor, place of origin and point of no return. A starry cast of contributors including Dominikus Müller on Oscar Murillo and Henrik Olesen, Bruce Hainley on Claude Wampler, and Nicholas Schafhausen on Gerhard Richter. Aaron Moulton takes us from a nativity scene in Otto Muehl’s commune to a grave-digging by artist Lazaros, Aki Sasamoto tells us who her favourite artists are. The psychoanalyst Jamieson Webster and philosopher Chiara Bottici write about the Kardashians and the Freudian family in their essay “The Family Is Sick”. PURCHASE EPAPER →

<p data-mce-fragment="1">The family as structure, model, metaphor, place of origin and point of no return. A starry cast of contributors including Dominikus Müller on Oscar Murillo and Henrik Olesen, Bruce Hainley on Claude Wampler, and Nicholas Schafhausen on Gerhard Richter. Aaron Moulton takes us from a nativity scene in Otto Muehl’s commune to a grave-digging by artist Lazaros, Aki Sasamoto tells us who her favourite artists are. The psychoanalyst Jamieson Webster and philosopher Chiara Bottici write about the Kardashians and the Freudian family in their essay “The Family Is Sick”.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-50-the-family"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 50 (WINTER 2017): The Family

Karen Archey profiles 70s Polish avantgarde artist duo KwieKulik; Vincent Honoré interviews Bruce McLean; and Austrian director Daniel Hoesl talks about his debut feature film Soldate Jeannette. Benoît Maire continues the discussion on the role of objects in contemporary thought; Ingo Niermann stumbles upon the Gallery of the Unbelievers; a speculation on the online game CowClicker by Alexander Scrimgeour; and curator Antony Hudek looks back on Palle Nielsen’s “Model for a Qualitative Society” (1968). Then Timo Feldhaus, Piper Marshall, Krist Gruijthuijsen and others recall shows that left them with an ambivalent verdict. PURCHASE EPAPER →

<p data-mce-fragment="1">Karen Archey profiles 70s Polish avantgarde artist duo KwieKulik; Vincent Honoré interviews Bruce McLean; and Austrian director Daniel Hoesl talks about his debut feature film <em data-mce-fragment="1">Soldate Jeannette</em>. Benoît Maire continues the discussion on the role of objects in contemporary thought; Ingo Niermann stumbles upon the Gallery of the Unbelievers; a speculation on the online game CowClicker by Alexander Scrimgeour; and curator Antony Hudek looks back on Palle Nielsen’s “Model for a Qualitative Society” (1968). Then Timo Feldhaus, Piper Marshall, Krist Gruijthuijsen and others recall shows that left them with an ambivalent verdict.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-49-net-art-and-after"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 49 (AUTUMN 2016): Net Art and After

This issue explores contemporary archetypes – the microcelebrity, the one-percenter, the refugee, the feminist, the sleeper, the saviour, and the thief – who likewise occupy a position between hyper- and invisibility within the social space. Hidden among them is the artist, who obscures as much as she or he reveals. The coded palimpsest, the viral internet, and the self as brand all offer metaphorical ways of talking about a moment in which it often seems nothing is beyond the reach of corporate or state surveillance and the economy of likes. In the lead essay, Barbara Casavecchia looks at artistic precedents for counterstrategies of reduced visibility, secrets, and silence. Dean Kissick investigates microcelebrity, and Armen Avanessian offers his reflections the figure of the sleeper. Hans-Jürgen Hafner explains why it’s become so hard to “get” Arnulf Rainer’s oeuvre, and Suzanne Cotter talks to Tenzing Barshee about the supposed opacity of Trisha Donnelly’s work. With Ariana Reines, Jay Sanders, and João Ribas. PURCHASE EPAPER →

<p data-mce-fragment="1">This issue explores contemporary archetypes – the microcelebrity, the one-percenter, the refugee, the feminist, the sleeper, the saviour, and the thief – who likewise occupy a position between hyper- and invisibility within the social space. Hidden among them is the artist, who obscures as much as she or he reveals. The coded palimpsest, the viral internet, and the self as brand all offer metaphorical ways of talking about a moment in which it often seems nothing is beyond the reach of corporate or state surveillance and the economy of likes. In the lead essay, Barbara Casavecchia looks at artistic precedents for counterstrategies of reduced visibility, secrets, and silence. Dean Kissick investigates microcelebrity, and Armen Avanessian offers his reflections the figure of the sleeper. Hans-Jürgen Hafner explains why it’s become so hard to “get” Arnulf Rainer’s oeuvre, and Suzanne Cotter talks to Tenzing Barshee about the supposed opacity of Trisha Donnelly’s work. With Ariana Reines, Jay Sanders, and João Ribas.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-48-erace-the-traces"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 48 (SUMMER 2016): Erase the Traces

What it means to be human is changing. Increasingly, human beings see themselves as part of bigger ecological, economic, and technological systems. If consciousness can just as easily reside in plants and machines, the body becomes interesting again: as one material among others that can be sculpted and transformed. Digitalisation of the body, the post-animal bioeconomy, artificial intelligence as creator: With Rosi Braidotti, 1992’s “Post Human” group show, Hans Scheirl’s Dandy Dust, a roundtable about the future of eating, portraits of Ian Cheng, Stelarc and Hannah Perry, Bernhard Willhem on the perfect body of the future, Transformers: an essay by Bryan Droitcour, Elisa Ambrogio’s music videos, and Guyotat’s Eden Eden Eden from 1970. PURCHASE EPAPER →

<p data-mce-fragment="1">What it means to be human is changing. Increasingly, human beings see themselves as part of bigger ecological, economic, and technological systems. If consciousness can just as easily reside in plants and machines, the body becomes interesting again: as one material among others that can be sculpted and transformed. Digitalisation of the body, the post-animal bioeconomy, artificial intelligence as creator: With Rosi Braidotti, 1992’s “Post Human” group show, Hans Scheirl’s <em data-mce-fragment="1">Dandy Dust</em>, a roundtable about the future of eating, portraits of Ian Cheng, Stelarc and Hannah Perry, Bernhard Willhem on the perfect body of the future, <em data-mce-fragment="1">Transformers</em>: an essay by Bryan Droitcour, Elisa Ambrogio’s music videos, and Guyotat’s <em data-mce-fragment="1">Eden Eden Eden </em>from 1970.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-47-the-body"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 47 (SPRING 2016): The Body

The pressure is rising. Between acceleration and exit, artists and theorists are searching for new forms of resistance. They create their own worlds, enter into collaborations, establish companies, or work to dissolve familiar formats. What does it mean to be political today? What possibilities for action remain, and which ones are opening up? This issue looks for political alternatives and resistance into the art world, and includes discussions between Claire Fontaine’s Fulvia Carnevale, Rory Rowan, Constant Dullaart & Toke Lykkeberg, portraits of Tobias Madison, Barbara Kruger and Omer Fast, an interview with Armen Avanessian, Liam Gillick on the British documentary filmmaker Adam Curtis, and Chus Martínez on the role of art in generating new cultural forms. PURCHASE EPAPER →

<p data-mce-fragment="1">The pressure is rising. Between acceleration and exit, artists and theorists are searching for new forms of resistance. They create their own worlds, enter into collaborations, establish companies, or work to dissolve familiar formats. What does it mean to be political today? What possibilities for action remain, and which ones are opening up? This issue looks for political alternatives and resistance into the art world, and includes discussions between Claire Fontaine’s Fulvia Carnevale, Rory Rowan, Constant Dullaart &amp; Toke Lykkeberg, portraits of Tobias Madison, Barbara Kruger and Omer Fast, an interview with Armen Avanessian, Liam Gillick on the British documentary filmmaker Adam Curtis, and Chus Martínez on the role of art in generating new cultural forms.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-46-what-is-to-be-done"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 46 (WINTER 2015): What is to be Done?

9/11. The Greek referendum. Tonight’s opening. The many events that have nothing to do with spectacle or even remain invisible. The event holds the promise of the collective encounter; it is ubiquitous and rare. When does it begin: on Facebook, when you step through the door, or when the live-stream is running? Or perhaps only when something happens that can no longer be undone? To find answers, we asked curators Vincent Honoré and Barbara Steiner, theorist Benjamin Noys, and artist Kenneth Goldsmith. We invited the curator Carolyn Christov-Bakargiev, artist Tino Sehgal, and the new director of the Münchner Kammerspiele Matthias Lilienthal to a roundtable discussion to talk about whether the aura of the art object is now attached to the event. Is a new cultural form emerging that can change the structure of society? PURCHASE EPAPER →

<p data-mce-fragment="1">9/11. The Greek referendum. Tonight’s opening. The many events that have nothing to do with spectacle or even remain invisible. The event holds the promise of the collective encounter; it is ubiquitous and rare. When does it begin: on Facebook, when you step through the door, or when the live-stream is running? Or perhaps only when something happens that can no longer be undone? To find answers, we asked curators Vincent Honoré and Barbara Steiner, theorist Benjamin Noys, and artist Kenneth Goldsmith. We invited the curator Carolyn Christov-Bakargiev, artist Tino Sehgal, and the new director of the Münchner Kammerspiele Matthias Lilienthal to a roundtable discussion to talk about whether the aura of the art object is now attached to the event. Is a new cultural form emerging that can change the structure of society? </p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-45-the-event"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 45 (AUTUMN 2015): The Event

How does the digital, with its rapidly circulating images and high-resolution screens, influence the act of seeing? How is it changing the painted picture? Painting’s code is made and remade over long spans of time, in feedback loops, in dialogue with history. And again and again it stands in the way of progress. You have to dig deep to find out what it means to make pictures today. With Olivier Mosset’s Artist Favourites, a postcard from Giverny sent from artist Clément Rodzielski, Travis Jeppesen on zombie criticism, Bob Nickas on Julia Wachtel, Daniel Bauman on Albert Oehlen, Eva Fabbris on Giorgio Griffa, Rita Vitorelli in conversation with Nicolas Party. Here, the painters give their answers. PURCHASE EPAPER →

<p data-mce-fragment="1">How does the digital, with its rapidly circulating images and high-resolution screens, influence the act of seeing? How is it changing the painted picture? Painting’s code is made and remade over long spans of time, in feedback loops, in dialogue with history. And again and again it stands in the way of progress. You have to dig deep to find out what it means to make pictures today. With Olivier Mosset’s Artist Favourites, a postcard from Giverny sent from artist Clément Rodzielski, Travis Jeppesen on zombie criticism, Bob Nickas on Julia Wachtel, Daniel Bauman on Albert Oehlen, Eva Fabbris on Giorgio Griffa, Rita Vitorelli in conversation with Nicolas Party. Here, the painters give their answers.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-44-painting-as-code"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 44 (SUMMER 2015): Painting as Code

Everyone has to be an artist. When the myth of creativity and self-determination permeates all spheres, what is the artist to do? Can the individual work still produce difference, when formerly stable ideas of the public and of history are no longer in place? When the work dissolves, does artistic work flow into the design of being? Including a roundtable with Simon Denny, Natascha Sadr Haghighian, and Alexander Koch; an interview with Heimo Zobernig; and portraits of Henri Matisse, Korakrit Arunanondchai, and Weronika Ławniczak. Martin Herbert portrays fictional artists from Duchamp, Kolja Reichert and Christian Kobald ask what has become of an art world that integrates everything. John Menick on today’s cinematic heroes, and Cara Delevigne in the 3M Paparazzi Blocker Anorak, as seen by Jon Leon. With Image Contributions by Andro Wekua, Keren Cytter, Misha Stroj, and Nicole Eisenman. PURCHASE EPAPER →

<p data-mce-fragment="1">Everyone has to be an artist. When the myth of creativity and self-determination permeates all spheres, what is the artist to do? Can the individual work still produce difference, when formerly stable ideas of the public and of history are no longer in place? When the work dissolves, does artistic work flow into the design of being? Including a roundtable with Simon Denny, Natascha Sadr Haghighian, and Alexander Koch; an interview with Heimo Zobernig; and portraits of Henri Matisse, Korakrit Arunanondchai, and Weronika Ławniczak. Martin Herbert portrays fictional artists from Duchamp, Kolja Reichert and Christian Kobald ask what has become of an art world that integrates everything. John Menick on today’s cinematic heroes,  and Cara Delevigne in the 3M Paparazzi Blocker Anorak, as seen by Jon Leon. With Image Contributions by Andro Wekua, Keren Cytter, Misha Stroj, and Nicole Eisenman.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-43-the-artist"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 43 (SPRING 2015): The Artist

Where does the sense of the ahistorical come from in many recent works, in particular those associated with post-Internet art? Why do younger artists openly admit ignorance of (art) history? Are we confronting a tabula rasa, or a moment of reinvention? With a roundtable with Hito Steyerl, DIS, and art historian Susanne von Falkenhausen, texts by Mark Fisher, Kasper König, and Sascha Kösch, portraits of On Kawara, Samara Golden, and Wolfgang Breuer. Elizabeth Peyton on her influences,Oswald Wiener talks about cybernetics and the standstill of art and science. Karen Kilimnik, Johannes Wohnseifer, Tom Burr, and others offer visual forms of engagement with the idea of forgetting. PURCHASE EPAPER →

<p data-mce-fragment="1">Where does the sense of the ahistorical come from in many recent works, in particular those associated with post-Internet art? Why do younger artists openly admit ignorance of (art) history? Are we confronting a tabula rasa, or a moment of reinvention? With a roundtable with Hito Steyerl, DIS, and art historian Susanne von Falkenhausen, texts by Mark Fisher, Kasper König, and Sascha Kösch, portraits of On Kawara, Samara Golden, and Wolfgang Breuer. Elizabeth Peyton on  her influences,Oswald Wiener talks about cybernetics and the standstill of art and science. Karen Kilimnik, Johannes Wohnseifer, Tom Burr, and others offer visual forms of engagement with the idea of forgetting.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-42-history-in-a-time-of-hypercirculation"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 42 (WINTER 2014): History in a Time of Hypercirculation

It’s our 10th Anniversary and it’s about time. Artist Piotr Uklanski talks to Vienna Actionist Hermann Nitsch about painting, death, and sex. Choreographers Meg Stuart and Adam Linder meet for an interview about the future of dance. There are profiles of Laura Owens, rediscovered punk writer Kathy Acker, and the filmmaker Romain Gavras. an essay about the desire for proximity in contemporary performance art; Jussi Parikka sees media archaeology as an alternative to current accelerationist thinking. PURCHASE EPAPER →

<p data-mce-fragment="1">It’s our 10th Anniversary and it’s about time. Artist Piotr Uklanski talks to Vienna Actionist Hermann Nitsch about painting, death, and sex. Choreographers Meg Stuart and Adam Linder meet for an interview about the future of dance. There are profiles of Laura Owens, rediscovered punk writer Kathy Acker, and the filmmaker Romain Gavras. an essay about the desire for proximity in contemporary performance art; Jussi Parikka sees media archaeology as an alternative to current accelerationist thinking.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-41-the-anniversary-issue"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 41 (AUTUMN 2014): The Anniversary Issue

A conversation about the bleak future of art with dealer Gavin Brown. Italian left-wing theorist Tiziana Terranova talks about living in an age of debt, Kolja Reichert reflects on how the ascendance of art is a symptom of the devaluation of money, while Jon Leon interviews LA artist Alex Israel about nostalgia, style and taste. Curator Bob Nickas thinks back on the career of Laurie Parsons. Timo Feldhaus writes about Jordan Wolfson’s notorious dancing robot at David Zwirner Gallery, and curator Michele D’Aurizio pitches Curzio Malaparte’s novel The Skin as a lesson in humanity and suffering, while science-fiction author Mark von Schlegell contributes a new short story about an unstoppable horde of children. PURCHASE EPAPER →

<p data-mce-fragment="1">A conversation about the bleak future of art with dealer Gavin Brown. Italian left-wing theorist Tiziana Terranova talks about living in an age of debt, Kolja Reichert reflects on how the ascendance of art is a symptom of the devaluation of money, while Jon Leon interviews LA artist Alex Israel about nostalgia, style and taste. Curator Bob Nickas thinks back on the career of Laurie Parsons. Timo Feldhaus writes about Jordan Wolfson’s notorious dancing robot at David Zwirner Gallery, and curator Michele D’Aurizio pitches Curzio Malaparte’s novel <em data-mce-fragment="1">The Skin</em> as a lesson in humanity and suffering, while science-fiction author Mark von Schlegell contributes a new short story about an unstoppable horde of children.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-40-art-under-capitalism"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 40 (SUMMER 2014): Art under Capitalism

Curator and activist Ben Vickers discusses the difference between networks and institutions, new community-based social models, and the London post-Internet scene; and New York–based artist Bjarne Melgaard talks about the death drive in homosexual culture. Boris Groys writes a profile of artist and ZKM director Peter Weibel, and Daniel Baumann analyses the Russian performance group Pussy Riot. In addition, the issue features articles on the relationships and interconnections within the Italian art world, the paradigmatic anti-gallery American Fine Arts, the Vienna Secession as an artist-run institution, Spike Jonze’s film Her, and how the website Contemporary Art Daily has supposedly changed our view of art. PURCHASE EPAPER →

<p data-mce-fragment="1">Curator and activist Ben Vickers discusses the difference between networks and institutions, new community-based social models, and the London post-Internet scene; and New York–based artist Bjarne Melgaard talks about the death drive in homosexual culture. Boris Groys writes a profile of artist and ZKM director Peter Weibel, and Daniel Baumann analyses the Russian performance group Pussy Riot. In addition, the issue features articles on the relationships and interconnections within the Italian art world, the paradigmatic anti-gallery American Fine Arts, the Vienna Secession as an artist-run institution, Spike Jonze’s film <em data-mce-fragment="1">Her</em>, and how the website Contemporary Art Daily has supposedly changed our view of art.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-39-the-network"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 39 (SPRING 2014): The Network

<p data-mce-fragment="1">Karen Archey profiles 70s Polish avantgarde artist duo KwieKulik; Vincent Honoré interviews Bruce McLean; and Austrian director Daniel Hoesl talks about his debut feature film <em data-mce-fragment="1">Soldate Jeannette</em>. Benoît Maire continues the discussion on the role of objects in contemporary thought; Ingo Niermann stumbles upon the Gallery of the Unbelievers; a speculation on the online game CowClicker by Alexander Scrimgeour; and curator Antony Hudek looks back on Palle Nielsen’s “Model for a Qualitative Society” (1968). Then Timo Feldhaus, Piper Marshall, Krist Gruijthuijsen and others recall shows that left them with an ambivalent verdict.</p>
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ISSUE 38 (WINTER 2013): Models of Play

A collective portrait of the city with essays by Ingo Niermann and Timo Feldhaus, talks among gallerists like Daniel Buchholz and David Lieske, and between performers Adam Linder & Wojciech Kosma, Berlin artists in New York by Karen Archey, Anselm Franke at Haus der Kulturen der Welt, and Shanaynay at abc. PURCHASE EPAPER →

<p data-mce-fragment="1">A collective portrait of the city with essays by Ingo Niermann and Timo Feldhaus, talks among gallerists like Daniel Buchholz and David Lieske, and between performers Adam Linder &amp; Wojciech Kosma, Berlin artists in New York by Karen Archey, Anselm Franke at Haus der Kulturen der Welt, and Shanaynay at abc.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-37-the-berlin-issue"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 37 (AUTUMN 2013): The Berlin Issue

The Origins of Speculative Realism: Portraits of California-based artist Lutz Bacher, the French collective Claire Fontaine, and painter Maria Lassnig. Tobias Madison presents his Artist’s Favourites. Nav Haq discusses Jeremy Deller’s “Acid Brass” and Pablo Larios visits Kraupa-Tuskany Zeidler gallery in Berlin. According to Alex Kitnick, Harmony Korine’s new film “Spring Breakers” plunges us into post-political terror. And Armen Avanessian, Suhail Malik, and others discuss the origins of speculative thought and its tangible impact on contemporary art. PURCHASE EPAPER →

<p data-mce-fragment="1">The Origins of Speculative Realism: Portraits of California-based artist Lutz Bacher, the French collective Claire Fontaine, and painter Maria Lassnig. Tobias Madison presents his Artist’s Favourites. Nav Haq discusses Jeremy Deller’s “Acid Brass” and Pablo Larios visits Kraupa-Tuskany Zeidler gallery in Berlin. According to Alex Kitnick, Harmony Korine’s new film “Spring Breakers” plunges us into post-political terror. And Armen Avanessian, Suhail Malik, and others discuss the origins of speculative thought and its tangible impact on contemporary art.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-36-the-return-of-the-regional-curator"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 36 (SUMMER 2013): The Return of the Regional Curator

Materialising the Unthinkable: New series “Theories for the 21st Century” by guest editor Armen Avanessian and a proposal for a new philosophical materialism by the speculative realist Quentin Meillassoux. Jennifer Krasinski on Ed Atkins’s HD videos, and Hans-Jürgen Hafner rates Heinrich Dunst’s conceptual work. Oliver Basciano on Cosima von Bonin, and the Swedish performance artist and choreographer Mårten Spångberg shares his views on space, rhythm, expectation and embodiment with Filipa Ramos. Rita Vitorelli talks with the director of the Kunsthalle Vienna, Nicolas Schafhausen, on his curatorial approach and commitment to discourse. PURCHASE EPAPER →

<p data-mce-fragment="1">Materialising the Unthinkable: New series “Theories for the 21st Century” by guest editor Armen Avanessian and a proposal for a new philosophical materialism by the speculative realist Quentin Meillassoux. Jennifer Krasinski on Ed Atkins’s HD videos, and Hans-Jürgen Hafner rates Heinrich Dunst’s conceptual work. Oliver Basciano on Cosima von Bonin, and the Swedish performance artist and choreographer Mårten Spångberg shares his views on space, rhythm, expectation and embodiment with Filipa Ramos. Rita Vitorelli talks with the director of the Kunsthalle Vienna, Nicolas Schafhausen, on his curatorial approach and commitment to discourse.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-35-materialising-the-unthinkable"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 35 (SPRING 2013): Materialising the Unthinkable

Trials and Tribulations of Collaboration: Pablo Léon de la Barra sends us a long letter from Tripoli and Jon Leon writes about the fashionable rise of the visor. Pablo Larios portrays the Berlin-based artist Simon Denny. Bruce Hainley talks to painter Brian Calvin about his collaboration with Raf Simons. We visit the gallery project “curated by” in Vienna, and the artist collective Am Nuden Da in London. PURCHASE EPAPER →

<p data-mce-fragment="1">Trials and Tribulations of Collaboration: Pablo Léon de la Barra sends us a long letter from Tripoli and Jon Leon writes about the fashionable rise of the visor. Pablo Larios portrays the Berlin-based artist Simon Denny. Bruce Hainley talks to painter Brian Calvin about his collaboration with Raf Simons. We visit the gallery project “curated by” in Vienna, and the artist collective Am Nuden Da in London.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-34-trials-and-tribulations-of-collaboration"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 34 (WINTER 2012): Trials and Tribulations of Collaboration

Friends and companions remember the recently deceased Franz West, one of the most important artists of our time. Nicolas Bourriaud and American critic Fionn Meade have very different takes on documenta 13. Carson Chan in conversation with performance artist Christian Falsnaes about powerful emotions and karaoke. Karen Archey visits the young New York gallery 47 Canal, and Tal Beery discusses the artist as activist. PURCHASE EPAPER →

<p data-mce-fragment="1">Friends and companions remember the recently deceased Franz West, one of the most important artists of our time. Nicolas Bourriaud and American critic Fionn Meade have very different takes on documenta 13. Carson Chan in conversation with performance artist Christian Falsnaes about powerful emotions and karaoke. Karen Archey visits the young New York gallery 47 Canal, and Tal Beery discusses the artist as activist.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-33"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 33 (AUTUMN 2012)

Architect Markus Miessen makes a plea for the incompetent master. Curator Tenzing Barshee on the young Swiss art scene, mixing lo-fi with clean surfaces. Fionn Meade and American photographer Roe Ethridge discuss everything from still lifes to fashion photography. Sarah Rifky asks what role an Egyptian art institution can play during a time of upheaval. Jonas Zakaitis discusses language and material in the work of Jimmie Durham. PURCHASE EPAPER →

<p data-mce-fragment="1">Architect Markus Miessen makes a plea for the incompetent master. Curator Tenzing Barshee on the young Swiss art scene, mixing lo-fi with clean surfaces. Fionn Meade and American photographer Roe Ethridge discuss everything from still lifes to fashion photography. Sarah Rifky asks what role an Egyptian art institution can play during a time of upheaval. Jonas Zakaitis discusses language and material in the work of Jimmie Durham.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-32"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 32 (SUMMER 2012)

Thai artist Rirkrit Tiravanija discusses his art’s origins in Far Eastern thought. Franz West on the importance of reading in his life and work. Artur Żmijewski talks us through his 7th Berlin Biennale. Portraits of Lili Reynaud-Dewar, Paul Sietsema, and Galeria Stereo in Poznań. A profile of the exhibition space Extra City in Antwerp. Aaron Moulton watches Marina Abramović’s film “The Artist is Present”. PURCHASE EPAPER →

<p data-mce-fragment="1">Thai artist Rirkrit Tiravanija discusses his art’s origins in Far Eastern thought. Franz West on the importance of reading in his life and work. Artur Żmijewski talks us through his 7th Berlin Biennale. Portraits of Lili Reynaud-Dewar, Paul Sietsema, and Galeria Stereo in Poznań. A profile of the exhibition space Extra City in Antwerp. Aaron Moulton watches Marina Abramović’s film “The Artist is Present”.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-31"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 31 (SPRING 2012)

David Cronenberg in conversation with Markus Schinwald about cinematic sublimation and blank beginnings. An interview with Tom Burr about camp, appropriation, and the political. We ask players in the art world about Occupy Wall Street. Fabrice Stroun on Jim Shaw’s key work, O-ismus. Annika von Hauswolff on Maurice Blanchot’s “The Madness of the Day”. PURCHASE EPAPER →

<p data-mce-fragment="1">David Cronenberg in conversation with Markus Schinwald about cinematic sublimation and blank beginnings. An interview with Tom Burr about camp, appropriation, and the political. We ask players in the art world about Occupy Wall Street. Fabrice Stroun on Jim Shaw’s key work, <em data-mce-fragment="1">O-ismus</em>. Annika von Hauswolff on Maurice Blanchot’s “The Madness of the Day”.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-30"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 30 (WINTER 2011)

Interviews with Daniel Buren, a pioneer of in situ painting, and British artist Tacita Dean. Portraits of L.A.-based Richard Hawkins and Vienna-based sculptor Lone Haugaard Madsen. Isabelle Graw writes about the art industry’s new order and Sean Landers presents artists who have influenced him. We visit the Venice Biennale, “Time/Food” in New York, and the “Museum of Desires” in Vienna. PURCHASE EPAPER →

<p data-mce-fragment="1">Interviews with Daniel Buren, a pioneer of in situ painting, and British artist Tacita Dean. Portraits of L.A.-based Richard Hawkins and Vienna-based sculptor Lone Haugaard Madsen. Isabelle Graw writes about the art industry’s new order and Sean Landers presents artists who have influenced him. We visit the Venice Biennale, “Time/Food” in New York, and the “Museum of Desires” in Vienna.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-29"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 29 (AUTUMN 2011)

In his essay, John Kelsey asks how recent practices evade the art world’s usual divisions of labour. Remoteness and enthusiasm: on the art scene of the Argentinian capital Buenos Aires. An email exchange between Darren Bader and Bruce Hainley about food in the arts and bad curators. Portraits of the artist duo De Gruyter & Thys, Martha Wilson, and Josephine Pryde. Hans-Ulrich Obrist’s Curator’s Key is Luigi Ontani’s “Villino RomAmor”. PURCHASE EPAPER →

<p data-mce-fragment="1">In his essay, John Kelsey asks how recent practices evade the art world’s usual divisions of labour. Remoteness and enthusiasm: on the art scene of the Argentinian capital Buenos Aires. An email exchange between Darren Bader and Bruce Hainley about food in the arts and bad curators. Portraits of the artist duo De Gruyter &amp; Thys, Martha Wilson, and Josephine Pryde. Hans-Ulrich Obrist’s Curator’s Key is Luigi Ontani’s “Villino RomAmor”.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-28"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 28 (SUMMER 2011)

Provocateur Rob Pruitt in conversation with curator Gianni Jetzer. An interview with Carolyn Christov-Bakargiev, artistic director of documenta 13. The Pfaff Brothers on the poodle in the work of Jef Cornelis. Jay Sanders identifies George Manupelli’s film trilogy “Dr. Chicago” as his key work. Nick Currie sees problematical beauty in the slums of Osaka. PURCHASE EPAPER →

<p data-mce-fragment="1">Provocateur Rob Pruitt in conversation with curator Gianni Jetzer. An interview with Carolyn Christov-Bakargiev, artistic director of documenta 13. The Pfaff Brothers on the poodle in the work of Jef Cornelis. Jay Sanders identifies George Manupelli’s film trilogy “Dr. Chicago” as his key work. Nick Currie sees problematical beauty in the slums of Osaka.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-27"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 27 (SPRING 2011)

Curator Adam Carr investigates the influence of domestic space on the artistic mindset. Andreas Schlaegel asks how much advertising art can tolerate. Raimar Stange believes Paul Gernes is one of the most underappreciated trailblazers of contemporary art. Joanna Fiduccia writes about the meaning of the machine in the work of German artist Rosemarie Trockel. PURCHASE EPAPER →

<p data-mce-fragment="1">Curator Adam Carr investigates the influence of domestic space on the artistic mindset. Andreas Schlaegel asks how much advertising art can tolerate. Raimar Stange believes Paul Gernes is one of the most underappreciated trailblazers of contemporary art. Joanna Fiduccia writes about the meaning of the machine in the work of German artist Rosemarie Trockel.</p>
<p data-mce-fragment="1"><strong><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-26">PURCHASE EPAPER →</a><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-2"> </a></strong></p>
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ISSUE 26 (WINTER 2010)

A conversation between musician Jarvis Cocker and artist Gavin Turk about pop, participation, and Altermodernity. We visit the exhibitions “Greater New York” and the Venice Biennale of Architecture, and ask why Brussels is currently so alluring for artists and curators. Curator Adam Szymczyk discusses things that are holes in other things. With portraits of Yael Bartana and John McCracken. PURCHASE EPAPER →

<p data-mce-fragment="1">A conversation between musician Jarvis Cocker and artist Gavin Turk about pop, participation, and Altermodernity. We visit the exhibitions “Greater New York” and the Venice Biennale of Architecture, and ask why Brussels is currently so alluring for artists and curators. Curator Adam Szymczyk discusses things that are holes in other things. With portraits of Yael Bartana and John McCracken.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-25"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 25 (AUTUMN 2010)

Bruce Hainley in conversation with American author Wayne Koestenbaum about the muteness of Harpo Marx. Michele d’Aurizio on the Villa Necchi Campiglio, one of the most unusual private houses in Milan. Philippe Pirotte on the Centre for Contemporary Art in Lagos. We visit Tbilisi in Georgia, a city that is currently creating new structures for art. With portraits of Anri Sala and Keren Cytter.

<p data-mce-fragment="1">Bruce Hainley in conversation with American author Wayne Koestenbaum about the muteness of Harpo Marx. Michele d’Aurizio on the Villa Necchi Campiglio, one of the most unusual private houses in Milan. Philippe Pirotte on the Centre for Contemporary Art in Lagos. We visit Tbilisi in Georgia, a city that is currently creating new structures for art. With portraits of Anri Sala and Keren Cytter.</p>
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ISSUE 24 (SUMMER 2010)

Gender bending, bodies, souls, ids, and kids: the work of young video artist Ryan Trecartin. Tobias Berger on the rapid development of the Asian art scene. David Woodard in conversation with Swiss author Christian Kracht. Fritz Ostermayer on the game of (mis)chance as practice for crises. Portraits of Philippe Thomas / readymades belong to everyone, the Mexican collector Eugenio López, and the gallery Neue Alte Brücke in Frankfurt. PURCHASE EPAPER →

<p data-mce-fragment="1">Gender bending, bodies, souls, ids, and kids: the work of young video artist Ryan Trecartin. Tobias Berger on the rapid development of the Asian art scene. David Woodard in conversation with Swiss author Christian Kracht. Fritz Ostermayer on the game of (mis)chance as practice for crises. Portraits of Philippe Thomas / readymades belong to everyone, the Mexican collector Eugenio López, and the gallery Neue Alte Brücke in Frankfurt.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-23"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 23 (SPRING 2010)

Why are art fairs so annoying? Is the time ripe for a 1990s revival? Why is Wilhelm Schürmann one of Germany’s most influential collectors? Also featuring portraits of the Rio de Janeiro-based art project Capacete Entretenimentos, the “Museum of Everything” in London, Austrian artist Leopold Kessler, and Sarah Lucas. PURCHASE EPAPER →

<p data-mce-fragment="1">Why are art fairs so annoying? Is the time ripe for a 1990s revival? Why is Wilhelm Schürmann one of Germany’s most influential collectors? Also featuring portraits of the Rio de Janeiro-based art project Capacete Entretenimentos, the “Museum of Everything” in London, Austrian artist Leopold Kessler, and Sarah Lucas.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-22"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 22 (WINTER 2009)

Spike turns five! Philosopher Jacques Rancière on the emancipation of the spectator, leisure, and the good art critic. Berlin’s art scene: the wild years are over, now it’s all about professionalisation. Portraits of performance artist Ei Arakawa, conceptual photographer Christopher Williams, and the young Lithuanian gallery Tulips & Roses. A fashion report in praise of amateurism. PURCHASE EPAPER →

<p data-mce-fragment="1">Spike turns five! Philosopher Jacques Rancière on the emancipation of the spectator, leisure, and the good art critic. Berlin’s art scene: the wild years are over, now it’s all about professionalisation. Portraits of performance artist Ei Arakawa, conceptual photographer Christopher Williams, and the young Lithuanian gallery Tulips &amp; Roses. A fashion report in praise of amateurism.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-21"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 21 (AUTUMN 2009)

In his essay, critic Bruce Hainley searches for an antidote to the current economic crisis. John Baldessari and Matt Mullican talk about their joint project “Pong”. Chris Kraus presents “Telephone”, a play by young American poet Ariane Reines. Jérôme Sans discusses Wang Du’s sculpture No Comment as one of his key works. With portraits of Collier Schorr, Luke Fowler, and Zagreb’s art scene. PURCHASE EPAPER →

<p data-mce-fragment="1">In his essay, critic Bruce Hainley searches for an antidote to the current economic crisis. John Baldessari and Matt Mullican talk about their joint project “Pong”. Chris Kraus presents “Telephone”, a play by young American poet Ariane Reines. Jérôme Sans discusses Wang Du’s sculpture <em data-mce-fragment="1">No Comment</em> as one of his key works. With portraits of Collier Schorr, Luke Fowler, and Zagreb’s art scene.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-20"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 20 (SUMMER 2009)

Critic Raimar Stange and curator Christian Kobald on the American art critic Clement Greenberg and the financial crisis. Curator Gianni Jetzer presents the performance “Manon presents Man” as one of his key works. Hans-Jürgen Hafner discusses American conceptual artist Stephen Prina. We visit Markus Schinwald’s big solo show at Kunsthaus Bregenz; the “City of Records”, Bucharest; the Tate Triennial in London; and exhibitions by Diane Arbus, Eva Grubinger, and John Armleder.

<p data-mce-fragment="1">Critic Raimar Stange and curator Christian Kobald on the American art critic Clement Greenberg and the financial crisis. Curator Gianni Jetzer presents the performance “Manon presents Man” as one of his key works. Hans-Jürgen Hafner discusses American conceptual artist Stephen Prina. We visit Markus Schinwald’s big solo show at Kunsthaus Bregenz; the “City of Records”, Bucharest; the Tate Triennial in London; and exhibitions by Diane Arbus, Eva Grubinger, and John Armleder.</p>

ISSUE 19 (SPRING 2009)

Contemporary art in Warsaw: transition and flux. Off-spaces in Vienna: the great unknown. An interview with Scottish performance artist Sue Tompkins and a portrait of photographer Torbjørn Rødland. Joachim Bessing on ten conceptual perfumes by perfumier Kilian Hennessy. Magali Arriola on the gallery Santiago Monclova in Mexico City. An essay about Barack Obama’s election and recent American art. PURCHASE EPAPER →

<p data-mce-fragment="1">Contemporary art in Warsaw: transition and flux. Off-spaces in Vienna: the great unknown. An interview with Scottish performance artist Sue Tompkins and a portrait of photographer Torbjørn Rødland. Joachim Bessing on ten conceptual perfumes by perfumier Kilian Hennessy. Magali Arriola on the gallery Santiago Monclova in Mexico City. An essay about Barack Obama’s election and recent American art.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-18"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 18 (WINTER 2008)

A conversation with Turkish filmmaker Kutlug Ataman about fictional truths. Portraits of Indian artist Nalini Malani, Andrea Zittel, and Florian Hecker. We present Galerie Feinkost and Roger Bundschuh’s and Cosima von Bonin’s building for art collectors in Berlin. Artist’s Favourites by Nedko Solakov and an in-depth report on India’s growing art scene.

<p data-mce-fragment="1">A conversation with Turkish filmmaker Kutlug Ataman about fictional truths. Portraits of Indian artist Nalini Malani, Andrea Zittel, and Florian Hecker. We present Galerie Feinkost and Roger Bundschuh’s and Cosima von Bonin’s building for art collectors in Berlin. Artist’s Favourites by Nedko Solakov and an in-depth report on India’s growing art scene.</p>

ISSUE 17 (AUTUMN 2008)

AA Bronson on his “School for Young Shamans” and Joachim Bessing on fashion magazines, collector’s items, and multiples. We show John Bock’s art collection, ask if Berlin needs a Kunsthalle, and present Tirdad Zolghadr’s new novel Softcore. Franz West talks about the artistic process of creation. Musician Ursula Rucker and the duo “Schnee” discuss the poetical and political in music. PURCHASE EPAPER →

<p data-mce-fragment="1">AA Bronson on his “School for Young Shamans” and Joachim Bessing on fashion magazines, collector’s items, and multiples. We show John Bock’s art collection, ask if Berlin needs a Kunsthalle, and present Tirdad Zolghadr’s new novel <em data-mce-fragment="1">Softcore</em>. Franz West talks about the artistic process of creation. Musician Ursula Rucker and the duo “Schnee” discuss the poetical and political in music.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-16"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 16 (SUMMER 2008)

Nick Currie reports on the run-up to the 5th Berlin Biennale. We present Berlin’s Isabella Bortolozzi Galerie. Curator Vincent Honoré talks about a work by Louise Bourgeois. Jeremy Deller introduces a number of artists who are important to him. Francesco Stocchi discusses a performance by Micol Assael at Johann König. With portraits of Romanian artist Mircea Cantor, Belgrade’s conceptual art pioneer Raša Todosijević, and American artist Frances Stark. PURCHASE EPAPER →

<p data-mce-fragment="1">Nick Currie reports on the run-up to the 5th Berlin Biennale. We present Berlin’s Isabella Bortolozzi Galerie. Curator Vincent Honoré talks about a work by Louise Bourgeois. Jeremy Deller introduces a number of artists who are important to him. Francesco Stocchi discusses a performance by Micol Assael at Johann König. With portraits of Romanian artist Mircea Cantor, Belgrade’s conceptual art pioneer Raša Todosijević, and American artist Frances Stark.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-15"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 15 (SPRING 2008)

Momus embarks on a search for the hottest art district in Berlin. Raimar Stange reads Günther Anders’ The Outdatedness of Human Beings, and we visit the Latvian capital, Riga. With portraits of Walter Pichler, Tris Vonna-Michell, Gardar Eide Einarsson, and the American filmmaker Stephanie Rothman. Critic Bruce Hainley writes a letter to artist Trisha Donnelly about George Kuchar.

<p data-mce-fragment="1">Momus embarks on a search for the hottest art district in Berlin. Raimar Stange reads Günther Anders’ <em data-mce-fragment="1">The Outdatedness of Human Beings</em>, and we visit the Latvian capital, Riga. With portraits of Walter Pichler, Tris Vonna-Michell, Gardar Eide Einarsson, and the American filmmaker Stephanie Rothman. Critic Bruce Hainley writes a letter to artist Trisha Donnelly about George Kuchar.</p>
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ISSUE 14 (WINTER 2007)

Daniel Baumann on misunderstandings in Sturtevant’s work, and Raimar Stange on logos and spam in Johannes Wohnseifer’s. Inges Gebetsroither writes about the films of French artist Cyprien Gaillard, while Patricia Ellis profiles Peter Doig, the 11.3 million dollar man. A grand tour: documenta 12, Biennale di Venezia and skulptur projekte münster. And of course, Liam Gillick says drop what you’re doing and go read Marx. PURCHASE EPAPER →

<p data-mce-fragment="1">Daniel Baumann on misunderstandings in Sturtevant’s work, and Raimar Stange on logos and spam in Johannes Wohnseifer’s. Inges Gebetsroither writes about the films of French artist Cyprien Gaillard, while Patricia Ellis profiles Peter Doig, the 11.3 million dollar man. A grand tour: documenta 12, Biennale di Venezia and skulptur projekte münster. And of course, Liam Gillick says drop what you’re doing and go read Marx.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-13"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 13 (AUTUMN 2007)

Art Scene Helsinki: on the hip cultural capital of north-eastern Europe after the crisis of the 1990s. A conversation between artists Tobias Rehberger and Francesco Vezzoli about their most recent films “On Otto” and “Democrazy”. Portraits of Nancy Spero, Mario García Torres, Herbert Brandl, Kennedy Geers, and the German Band Fehlfarben. Artist’s Favourites by Russian conceptual artist Oleg Kulik and a spotlight on Grazyna Kulczyk’s art collection. PURCHASE EPAPER →

<p data-mce-fragment="1">Art Scene Helsinki: on the hip cultural capital of north-eastern Europe after the crisis of the 1990s. A conversation between artists Tobias Rehberger and Francesco Vezzoli about their most recent films “On Otto” and “Democrazy”. Portraits of Nancy Spero, Mario García Torres, Herbert Brandl, Kennedy Geers, and the German Band Fehlfarben. Artist’s Favourites by Russian conceptual artist Oleg Kulik and a spotlight on Grazyna Kulczyk’s art collection.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-12"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 12 (SUMMER 2007)

French curator Nicolas Bourriaud talks about his new concept of Altermodernity. Artist Piotr Uklanski discusses his debut film, “Summer Love”. Erwin Wurm and Ken Lum get together in Vienna to talk about the relationship between art and the general public. Francis Alys presents artists he finds particularly relevant at the moment, including Lara Almarcegui and Mateo Lopez. Martin Guttmann on Robert Musil’s The Man without Qualities, and curator Jens Hoffmann on Marcel Duchamp. With portraits of Carolee Schneemann, Sadaane Afif, and Elke Krystufek. PURCHASE EPAPER →

<p data-mce-fragment="1">French curator Nicolas Bourriaud talks about his new concept of Altermodernity. Artist Piotr Uklanski discusses his debut film, “Summer Love”. Erwin Wurm and Ken Lum get together in Vienna to talk about the relationship between art and the general public. Francis Alys presents artists he finds particularly relevant at the moment, including Lara Almarcegui and Mateo Lopez. Martin Guttmann on Robert Musil’s <em data-mce-fragment="1">The Man without Qualities</em>, and curator Jens Hoffmann on Marcel Duchamp. With portraits of Carolee Schneemann, Sadaane Afif, and Elke Krystufek.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-11"><strong>PURCHASE EPAPER → </strong></a></p>
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ISSUE 11 (SPRING 2007)

With portraits of Cady Noland, who withdrew from the art world in the late 1990s and continues to fascinate a new generation of artists, Cory Arcangel, Plamen Dejanoff, painter René Daniels, and the Berlin based collector of conceptual art Axel Haubrok. We meet Gerwald Rockenschaub for an interview and report on Belgrade’s crisis of artistic production in the Post-Milosevic era. Curator Chus Martinez discusses a work by David Lamelas, and Kenneth Anger talks about underground film and rock’n’roll. PURCHASE EPAPER →

<p data-mce-fragment="1">With portraits of Cady Noland, who withdrew from the art world in the late 1990s and continues to fascinate a new generation of artists, Cory Arcangel, Plamen Dejanoff, painter René Daniels, and the Berlin based collector of conceptual art Axel Haubrok. We meet Gerwald Rockenschaub for an interview and report on Belgrade’s crisis of artistic production in the Post-Milosevic era. Curator Chus Martinez discusses a work by David Lamelas, and Kenneth Anger talks about underground film and rock’n’roll.</p>
<p data-mce-fragment="1"><a href="https://shop.spikeartmagazine.com/product/spike-epaper-issue-10"><strong>PURCHASE EPAPER → </strong></a></p>
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