Art
Dana Schutz, ‘The Island’, George Economou Collection, Athens, Studio International (January 2025)
‘Kandis Williams Links Choreography with Control’, review of: Kandis Williams, ‘Notes on Dance’, Galerie Hubert Winter, Vienna, Frieze, Issue 245 (September 2024)
‘Jean Genet and Angela Davis on Black-Palestinian Solidarity’, essay about: ‘A Convening of Civic Poets’, curated by Hoor Al-Qasimi and Julia Morandeira Arrizabalaga’, KADIST, Paris, Elephant (August 2024)
Klima Biennale Wien, various venues, Vienna, Camera Austria, Issue 166 (June 2024)
Kimberly Juanita Brown, Mortevivum (Cambridge, MA: MIT Press, 2024), Springerin, Heft 2/2024 (May 2024)
‘Even if This Can’t be Witnessed’, essay about: Michelangelo Pistoletto, ‘Many of One’, Castello di Rivoli, Turin, Texte zur Kunst (May 2024)
‘All the Things Exist Now: An Interview with Nora Turato’, Elephant, Issue 49 (May 2024)
‘Can a 1960s Social Experiment Help Reimagine the Museum?’, review of: ‘A Model’, MUDAM, Luxembourg, Frieze, Issue 242 (April 2024)
‘You Get the Picture: From the Schirn Out into the World with Lena Henke’, SCHIRN Mag (March 2024)
Joel Sternfeld, ‘American Prospects’, Albertina, Vienna, Camera Austria, Issue 165 (March 2024)
Alvaro Barrington, ‘YOU BELONG TO THE CITY’, Thaddaeus Ropac, Paris, Art Press, Issue 517 (January 2024)
‘The Sickness Unto Little Death’, review of: Paulina Olowska, ‘Visual Persuasion’, Fondazione Sandretto Re Rebaudengo, Turin, Elephant (December 2023)
‘No Escaping the Nastiness: Taína Cruz’s Portraits in the Age of the Selfie’, review of: Taína Cruz, ‘HOUND’, Kraupa-Tuskany Zeidler, Berlin, Elephant (December 2023)
‘The Breakdown of Distance’, review of: TARWUK, ‘Conceived for the Stage’, White Cube, Paris, Mousse (November 2023)
Fritz Schleifer, ‘Photographs: Coastal Lands’, curated by Hans Bunge, Alfred Ehrhardt Stiftung, Berlin, Camera Austria, Issue 164 (November 2023)
‘Dom Sylvester Houédard’s Cosmic Dust’, review of: Dom Sylvester Houédard, ‘Endlessly Inside’, curated by Monika Čejkova, Bromouv Monastery, Czech Republic, ArtReview (November 2023)
Elisa Giardina Papa, ‘Flock - She Preferred the Lineage of Goats and Ducks’, Galerie Tanja Wagner, Berlin, Studio International (October 2023)
‘Falling Back into the Future of Old: Frieze London 2023’, Flash Art (October 2023)
‘Dominik Lang’s Act of Labour’, review of: Dominik Lang, ‘Let’s go outside, even if it rains!’, Hunt Kastner, Prague, ArtReview (October 2023)
‘Skeletons in the Office: On Isa Genzken’s Office Lighting (2008)’, One To[o] Many, Issue 1 (September 2023)
‘Divine Truths Fallen Through the Cracks’, review of: Slavs & Tatars, ‘Hang Don’t Cut’, Kraupa-Tuskany Zeidler, Berlin and Tanya Bonakdar Gallery, Los Angeles, Texte zur Kunst (July 2023)
‘An Atmosphere of Eternal Importance’, part of the Extended Materials for the research lab ‘Hugs, Tables & Assemblies: Considering Coexistence’, curated by Mortal Astronauts, Künstlerhaus Schloss Balmoral, Bad Ems (July 2023)
‘Artists in a Time of War’, curated by Carolyn Christov-Bakargiev and Marianna Vecellio, Castello di Rivoli - Museo d’Arte Contemporanea, Turin, Art Monthly (July-August 2023)
‘Self-Extinguishing Flickers of Charm: Graham Little’, Mousse, Issue 84 (Summer 2023)
‘A Wager of the Body’, review of: Mounira Al Solh, Pégalie Gbaguidi, Anne-Mie Van Kerckhoven, ‘Works on Paper’, Zeno X Gallery, Antwerp, Mousse (June 2023)
‘Perfect Behaviours: Life Redesigned by the Algorithm’, curated by Giorgio Olivero, OGR - Officine Grandi Riparazione, Turin, Studio International (May 2023)
‘Wikileaks-Sponsored “States of Violence” Undermines its own Democratic Ambitions’, review of: ‘States of Violence’, a/political, London, ARTNews (May 2023)
Monika Grabuschnigg and Nour Malas, ‘Four AM’, Carbon12, Dubai, press text (May 2023)
‘Will the “Aching Chic” of Bohemia Ever Die?’, review of: ‘Bohemia: History of an Idea, 1950-2000’, curated by Russell Ferguson, Kunsthalle Praha, Prague, ArtReview (May 2023)
‘Berlin’s Biggest-Ever Gallery Weekend was Full of Wonders’, review of: Gallery Weekend Berlin 2023, Hyperallergic (May 2023)
‘Rich Implied Terror’, review of: Tomas Harker, ‘Multiple Choice Fairytale Ending’, The Sunday Painter, London, Collecteurs (April 2023)
‘Low-Calorie Tyranny: Digesting the Art of Illiberal Democracy’, Kahan Art Space Yearbook 2022 (April 2023)
‘Rematerialisation of Language: 1978-2022’, Fondazione Antonio Dalle Nogare, Bolzano, Springerin, Heft 1/2023 (March 2023), English version.
Sasha Huber, ‘You Name It’, Autograph, London, Camera Austria, issue 161 (March 2023)
‘Holding Back and Holding Tight: On Steve McQueen’s Sunshine State’, e-flux (March 2023)
‘The Greatest Achievement: Arendt and Art’, Amor Mundi (February 2023)
‘The deliberately difficult art of Pierre Dunoyer’, review of: Pierre Dunoyer, ‘Rétrospective en 14 tableaux’, Musée d’Art Moderne, Paris, Apollo (February 2023)
‘On Sickness and Self-Transcendence’, review of: ‘Kingdom of the Ill’, curated by Sara Cluggish & Pavel S. Pys, Museion, Bolzano, Mousse (January 2023)
‘Utopian Blessings in the Ruins of the Present’, review of: Christopher Kulendran Thomas & Annika Kuhlmann, ‘Another World’, Institute for Contemporary Art, London and KW Institute for Contemporary Art, Berlin, Collecteurs (January 2023)
‘Averklub Collective: Who Gets to tell the Story of the Romani People?’, review of: Averklub Collective, ‘Manus Means Human’, Kunsthalle Vienna, ArtReview (August 2021)
Michèle Graf & Selina Grüter, Margaret Honda, Silvia Kolbowski, ‘Reprise’, Galerie Felix Gaudlitz, Vienna, ArtReview (June 2021)
Tatjana Danneberg, ‘Wait a Minute’, Salzburger Kunstverein, Salzburg, Spike, Issue 68 (June 2021)
‘Europe: Ancient Future’, Halle für Kunst Steiermark, Graz, Camera Austria, Issue 154 (June 2021)
curated_by Vienna 2020, various galleries, Vienna, ArtReview (December 2020)
‘Under the Duvet with Hervé Guibert’, review of: Herve Guibert, Galerie Felix Gaudlitz, Vienna, Frieze (November 2020)
Joannis Avramidis, ‘Another Look’, Galerie Crone, Vienna, Flash Art (August 2020)
Soshiro Matsubara, ‘True Romance’, Galerie Croy Nielsen, Vienna, Spike (July 2020)
Alessandro Balteo-Yazbeck, ‘All the Lands from Sunrise to Sunset’, Galerie Martin Janda, Vienna, ArtReview (April 2020)
Jenna Bliss, ‘Late Responder’, Galerie Felix Gaudlitz, Vienna, Artforum (March 2020)
Nicole Gravier, ‘Photoromans: Mythes et Clichés’, Ermes-Ermes, Vienna, Frieze, Issue 209 (March 2020)
Richard Nonas, ‘swerve (of shore) to bend (of bay)’, Galerie Hubert Winter, Vienna, ArtReview (March 2020)
‘Arts/Crafts: Between Tradition, Discourse, and Technologies’, Grazer Kunsthaus, Graz, Crafts, Issue 283 (March/April 2020)
‘Explore the history of Austrian fashion through 250 objects in Vienna’, Wallpaper* (February 2020)
‘Time is Thirsty’, Kunsthalle Vienna, Flash Art, Issue 329 (February/March 2020)
‘a.O-b.c.: An Audiovisual Diary’, State of Concept, Athens, ArtReview (January/February 2020)
‘The Absence of Any Source: On Coldness and Gorgeousness’, Mousse, Issue 70 (Winter 2020)
Eli Cortiñas, Débora Delmar, Nicolás Lamas, ‘Weight of Abundance’, curated by Ángels Miralda, Zeller van Almsick, Vienna, ArtReview (December 2019)
‘Artists Who Resist the Gaze of Collectors’ review of: Kameelah Janan Rasheed (Nome, Berlin) and Sol Camago (Bergamin & Gomide, São Paolo) at EXPO Chicago’, Hyperallergic (November 2019)
Michael Danner, Migration as Avant-Garde (book review), Amor Mundi (September 2019)
Céline Condorelli, ‘Equipment’, Significant Other, Vienna, ArtReview (September 2019)
‘Blood for the Future’, review of: Les Levine, ‘Resurrection’, Irish Museum of Modern Art, Dublin’, Public Seminar (September 2019)
Gelitin & Liam Gillick, ‘Stinking Dawn’, Kunsthalle Wien, Vienna, Flash Art, Issue 327 (September-October 2019)
‘Milena Büsch’s Large Paintings Parody Consumer Culture’, review of: Milena Büsch, ‘Battle Royale’, Galerie Felix Gaudlitz, Vienna, Hyperallergic (August 2019)
‘Wounds Yet to Scar: Collective Memory in Contemporary Chilean Video Art’, review of: ‘Remembering What Is’, curated by Hans Carlsson, Lundskonsthall, Lund, Public Seminar (July 2019)
‘Visions of the Apocalypse to Come: LISTE Art Fair, Basel, 2019’, Flash Art (June 2019)
James Lewis, ‘Sagas’, Futur II, Vienna, Flash Art (June 2019)
‘The Greatest Possible Torment: The Last Judgment by Frans Floris’, Amor Mundi (June 2019)
Jieun Lim, ‘RGB: Return to the Gate Following B’, Ermes-Ermes, Vienna, Flash Art (May 2019)
‘Permanent Mystifications: The Story of Slovak (Post)Conceptual Art’, Prague City Gallery, Prague, Public Seminar (April 2019)
‘All That is Solid: Liu Wei’, Mousse (April 2019)
Arthur Jafa, ‘A Series of Improbable, Yet Utterly Extraordinary, Renditions’, Galerie Rudolfinium, Prague, ArtReview (April 2019)
‘Thomas Schütte: No Heroic Illusions’, L’Officiel Art (April 2019)
Anna Hulacová & Zsófia Keresztes, ‘Éntomos’, curated by Sandra Barborovska, Prague City Gallery, Prague, ArtReview (March 2019)
‘The Fundamental Chord: Remembering Carl Heidenreich’, Amor Mundi (March 2019)
‘Beyond the Pale of the Law: Rightlessness on Reality TV in Christoph Schlingensief’s Bitte Liebt Österreich’, Amor Mundi (February 2019)
‘Antarctica: An Exhibition on Alienation’, Kunsthalle Wien, Vienna, Mousse, Issue 66 (Winter 2019)
‘The Day After the Explosion: Art of the First Czechoslovak Republic 1918-38’, National Gallery Prague, Prague, Amor Mundi (January 2019)
Asier Mendizabal, ‘Process and Chance’, Galerie Martin Janda, Vienna, Frieze (December 2018)
‘Can You Visit Me In Dreams?’, curated by Atillia Fattori Franchini, Galerie Nathalie Halgand, Vienna, ArtReview (December 2018)
‘Ellie Ga’s Empire of Texts’, Hyperallergic (November 2018)
‘Wes Anderson and Juman Malouf’s Curatorial Debut in Vienna Relives the Moment of First Love’, Frieze (November 2018)
‘Now Forever’, curated by Mark Rappolt, Galerie Crone, Vienna, Flash Art, Issue 323 (November 2018-January 2019)
James Lewis, ‘Hints’, exhibition text, Galerie Hubert Winter, viennacontemporary, Vienna (September 2018)
curated_by Vienna, various galleries, Vienna, Spike (September 2018)
Alexander Kluge, ‘Pluriverse’, Belvedere 21, Vienna, Flash Art, Issue 322 (September-October 2018)
‘Other Mechanisms’, curated by Anthony Huberman, Secession, Vienna, ArtReview (September 2018)
Lone Haugaard Madsen, ‘raum#350-Lystre’, Galerie Sophie Tappeiner, Vienna, Frieze, Issue 197 (September 2018)
‘Abjection Without Splendor: Günter Brus and Transgression’s Diminishing Returns’, review of: Günter Brus, ‘Unrest After the Storm’, Belvedere 21, Vienna, MOMUS (July 2018)
Iza Tarasewicz, ‘In myriads, things cry out’, Galerie Croy Nielsen, Vienna, Artforum (June 2018)
Cäcilia Brown, Kerstin von Gabain, Thea Moeller, Alexander Ruthner, Marina Sula, Gabriele Senn Galerie, Vienna, Spike, Issue 56 (Summer 2018)
Bouchra Khalili, Secession, Vienna, Spike, Issue 56 (Summer 2018)
Elina Brotherus, ‘It's Not Me, It's a Photograph’, Kunst Haus Hundertwasser, Vienna, Aesthetica, Issue 83 (June/July 2018)
Haim Steinbach, ‘Mojave’, Galerie Hubert Winter, Vienna, e-flux (May 2018)
Opening: Lena Henke at Galerie Emanuel Layr (Interview), Spike (May 2018)
Joe Scanlan, ‘New Tricks, New Schemes’, Galerie Martin Janda, Vienna, Flash Art, Issue 320 (May 2018)
Albert Mertz, ‘Dekonstruktion af maleriets møblement’, Galerie Croy Nielsen, Vienna, Flash Art, Issue 319 (March/April 2018)
Francesca Woodman, Galerie Hubert Winter, Vienna, Artforum (March 2018)
Jiri Kolar, Jiri Kovanda, Dominik Lang, Katja Strunz, Sofie Thorsen, and Jenni Tischer, ‘Collage’, Galerie Krobath, Vienna, unpublished (March 2018)
Július Koller, ‘Subjektobjekt’, Galerie Martin Janda, Vienna, e-flux (February 2018)
Bruno Gironcoli, ‘Shy at Work: Works on Paper’, mumok, Vienna, Mousse, Issue 62 (February/March 2018)
‘Cultural Perspectives: Theresa Lichtenstein's Image Building’, Aesthetica, Issue 81 (February/March 2018)
Liesl Raff, ‘Maximal Soft’, Galerie Sophie Tappeiner, Vienna, exhibition text (January 2018)
Olga Chernysheva, ‘Chandeliers in the Forest’, Secession, Vienna, Flash Art, Issue 318 (January/February 2018)
‘Natural Histories: Traces of the Political’, curated by Rainer Fuchs, mumok, Vienna, Frieze, Issue 192 (January/February 2018)
R.H. Quaytman, ‘Chapter 32. An Evening’, Secession, Vienna, Mousse, Issue 61 (December 2017/January 2018)
Sophie Reinhold, ‘Exchange of Vacuums’, Galerie Sophie Tappeiner, Vienna, Artforum (December 2017)
Dexter Dalwood, ‘“Ein Brief”: New Paintings by Dexter Dalwood’, curated by Michael Bracewell, Galerie Hubert Winter, Vienna, Flash Art, Issue 317 (November/December 2017)
Nicole Eisenman, ‘Black Light’, Secession, Vienna, Springerin, Heft 4/2017 (October 2017)
‘Threads Left Dangling, Veiled in Ink’, curated by Béatrice Gross, Galerie Emanuel Layr, Vienna, Artforum (October 2017)
curated by_Vienna, various galleries, Vienna, Spike (September 2017)
Joel Shapiro, Pace, London, Frieze, Issue 189 (September 2017)
Ben Schumacher, ‘The Testing Place’, Croy Nielsen, Vienna, Spike, Issue 52 (Summer 2017)
Eduard Angeli, ‘Retrospective’, Albertina, Vienna, Artforum (May 2017)
Do Ho Suh, ‘Passage/s’, Victoria Miro, London, Frieze, Issue 186 (April 2017)
‘Revolution: Russian Art 1917-1932’, The Royal Academy of Arts, London, unpublished (February 2017)
Anna Sophie Berger, ‘Places to Fight and Make Up’, mumok, Vienna, Frieze, Issue 184 (January/February 2017)
‘Body, Psyche, and Taboo: Vienna Actionism and Early Viennese Modernism’, mumok, Vienna, Frieze, Issue 179 (May 2016)
‘to expose, to show, to demonstrate, to inform, to offer’, mumok, Vienna, unpublished (October 2015)
Yoko Ono, ‘Half-A-Wind Show: A Retrospective’, Louisiana Museum of Modern Art, Humlebæk, Denmark, NYArts (June 2013)
‘The Vivisector’, curated by Todd Levin, Sprüth Magers, London, unpublished (November 2012)
Damien Hirst, ‘Retrospective’, Tate Modern, London, unpublished (April 2012)