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A Bar-Hopping Lesson in Architectural Reality     For the better part of three years now I’ve been traveling around Japan reporting on “snack” drinking establishments by the name of Limelight, as part of a series for the photographic monthlyView More >

Dan Cameron reviews Massimiliano Gioni’s recently opened Gwangju Biennale   Sanggil Kim – off‐line_burberry internet community (2004), C-print, 134.5 x 163.5 cm. © Sanggil Kim, courtesy PKM Gallery | Bartleby Bickle & Meursault.   Since its debut in 1995, the Gwangju BiennaleView More >

Lift to the Scaffold By Judy Annear   Lift (2005), C-Print/Diasec, 190 x 150 cm. © Thomas Demand, VG Bild-Kunst, Bonn / APG-JAA, Tokyo. All images: Courtesy Sprueth Magers Berlin London.   In 1958 Louis Malle directed his first featureView More >

THE PRODUCTION OF CLOUD A letter from Hans Ulrich Obrist to Hou Hanru   Koo Jeong-A – Petit déj’ & quick notes (2007), felt pen on paper, 45 x 64 cm. Courtesy the artist and Yvon Lambert Paris, New York.View More >

Chaos, Destruction, Recurring Chaosmos – Beyond the ‘Hametsu*Lounge’   Installation view of “Hametsu*Lounge” (2010) at Nanzuka Agenda Shibuya. Courtesy Nanzuka Underground.   Following on from my review of the recent “Chaos*Lounge” exhibition at Takahashi Collection Hibiya in Part 6 ofView More >

Dan Cameron on the non-distribution of Matthew Barney’s Cremaster cycle     Photo illustration by ART iT. A few weeks ago, an art cinema in downtown Manhattan held a public screening of the complete Matthew Barney Cremaster cycle. While IView More >

Not Identical, but the Same: Yuuki Matsumura’s ‘Almost-Dead Sculpture’   Yuuki Matsumura – Untitled (2009), set of three aluminum sheets, 30 x 65 x 45 cm, each.   Let’s begin with the dualism of “things that can be reproduced anyView More >