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Spike #54 – New formations
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PORTRAIT ANICKA YI
The Korean-born New York–based artist Anicka Yi brings musky-husky odors and colorful bacterial cultures into the sanctum of art. Hi-tech meets feminism in her imprecise, subjective, and mysterious work, which stages the future in the present. By Joanna Fiduccia

ESSAY: POST-WORK
In the near future, full automation may mean the end of work. And what will we do then? The answer might lie not in front of us but behind us. By Tom McCarthy

TWIN PEAKS: THE RETURN
By Philippe Parreno & Asad Raza

ROUND TABLE: THE DEATH AND LIFE OF THE ART GALLERY
A spate of recent closures suggest that the gallery model is under increasing pressure. Gallerists Vanessa Carlos, Jean-Claude Freymond-Guth & Kevin Rubén Jacobs talk the situation over.

PORTRAIT GILBERT & GEORGE
Gilbert & George have been turning themselves into an image for more than fifty years – an image that never quite adds up. In the deadlock of identity politics, their work reminds us of the political power of productive withdrawal. By Dean Kissick

Q/A LAURIE PENNY
Must political language be simple to be effective?

PORTRAIT OLIVER LARIC
The Austrian­ born artist and co-founder of the influential image blog VVORK (2006-2012) has never been interested in the difference between digital and real. In his work, he questions the privileged authority of established art institutions. By Chloe Stead

INSIDE THE DIGITAL CUBE
When a lecture theatre full of zombies and digital artworks is just a few clicks away there is no reason you have to scroll through installation shots on a website documenting of line exhibitions. A text about new formats for presenting digital art. By Natalie Kane

Q/A ADAM SZYMCZYK
Do we need a new avant-garde?

INTERVIEW CONTEMPORARY ART WRITING DAILY
Contemporary Art Writing Daily write anonymous exhibition reviews. Their writing is curlicued, abbreviated, crisp – criticism is reduced to its essentials. By Alexander Scrimgeour

Q/A BENJAMIN KUNKEL
Why is the new so attractive?

ONE WORK
Gustave Courbet, “La dame au podoscaphe”;. By Daniela Stöppel

FOCUS VIEW: JOHN RUSSELL AT KUNSTHALLE ZÜRICH
By Tobias Madison

Q/A PAUL FEIGELFELD
What is the most important recent technological break-through?

FIELD NOTE
The familiar, traditional American mall is being reimagined as an uncanny postmodern fantasy. By Dean Kissick

THE END IS NIGHT
Glopartheid. By Mohammad Salemy

EXHIBITION HISTORIES
Documenta X (1997) by Daniel Baumann

CURATOR'S KEY
Elisa Linn on KP Brehmer's Soul and Feeling of a Worker (1978/81)

ARTISTS' FAVOURITES
by Eva and Franco Mattes

A MANIFESTO FOR THE PUBLIC MUSEUM
By Carolyn Christov-Bakargiev

POSTCARD
from Budapest by Slavs & Tatars

SEDUCTION
By Karola Kraus, Titania Seidl, Ari Benjamin Meyers, Laura Henseler, Peter Amby

IMAGES CONTRIBUTED
By Ilya Lipkin, Jenna Sutela, Korakrit Arunanondchai, Magnus Andersen, Maruša Sagadin

VIEWS SWITZERLAND
Guillaume Pilet at Musée Cantonal des Beaux-Arts Lausanne and Marguerite Humeau at Haus Konstruktiv in Zurich by Elise Lammer

VIEWS GERMANY
Isa Genzken at König Galerie by Dominikus Müller, Preis der Nationalgalerie by Chloe Stead, Parapolitics at HKW by Alexander Scrimgeour, Salvage Art Institute at BNKR in Munich by Daniela Stöppel, Alexander Kluge at Folkwang Museum in Essen by Moritz Scheper

VIEWS AUSTRIA
Thomas Bayrle at MAK by Mohammad Salemy, Alona Rodeh at Christine König Galerie by Rebecca O'Dwyer, Valie Export at Lentos Kunstmuseum Linz by Gianna Virginia Prein, “Remastered” at Kunsthalle Krems by Leander Gussmann

VIEWS NEW YORK
Laura Owens at Whitney Museum by Felix Bernstein, Jim Shaw at Metro Pictures by Iona Whittaker, Maria Thereza Alves at Vera List Center for Art and Politics by Harry Burke

VIEWS PARIS
Camille Henrot at Palais de Tokyo by Jean-Max Colard

VIEWS LONDON
Zach Blas at Gasworks by Ella Plevin, Raša Todosijević at Handel Street Projects and Rivane Neuschwander at Stephen Friedman Gallery by Oliver Basciano

VIEWS MILAN
Gelitin at Fondazione Prada by Barbara Casavecchia