Art Seen: International


By Stephanie Cristello The mental state responsible for allowing daydreams to occur is often attributed to the type of brainwave activity known as Theta. The rhythm belongs to just one of five distinct neurological patterns that follow a Greek alphabet—the final in a series of wave measurements preceded by Alpha, Beta, Gamma, and Delta—which describe[…]

An interview with TOBIAS KASPAR

By Carter Mull and Laura Dennis Following a stint in the Spring of 2014 when artist Tobias Kaspar and I shared the Kunst Halle Sankt Gallen space with simultaneous, overlapping shows, I have remained attentive to our similarities and differences as artists. As much as it would be a pleasure to illuminate such projects of[…]

An Emotional State of Mind

HYON GYON: PARASOL UNIT // PROFILE OF THE ARTIST By Dr. Kostas Prapoglou The visual language of Korean born, Poland-based artist Hyon Gyon lies somewhere between contemporary expressionism and the realms of a fantasy world. Colorful and vibrant, yet dark and daunting, her sculptures, installations, and canvases reflect a turbulent esoteric world, where intense emotions[…]

Through Smoke and Across Dissent

POWER PLAYS WITH PERFUMERY // ALEESA COHENE, SANDS MURRAY-WASSINK, AND CLARA URSITTI By Matt Morris The earliest culturally organized uses of smell were based in Ancient religious activity in Egypt, through the burning of fragrant sacrifices and aromatic smoke for purposes of divination (indeed, the word ‘perfume’ comes from Latin, meaning ‘through smoke’). Across centuries[…]


JOAN MOREY // PROFILE OF THE ARTIST By Latitudes (Max Andrews & Mariana Cánepa Luna) Since the late 1990s, Joan Morey has produced an expansive body of live events, videos, installations, sound, and graphic works that has explored the intersection of theater, cinema, philosophy, sexuality, and subjectivity. His practice brings together three vitally important genres[…]

A City Immersed

EDUARDO TERRAZAS // MEXICO 1968 By Stephanie Cristello “The twentieth century began with a futuristic utopia and ended with nostalgia,” wrote Svetlana Boym in her 2001 publication The Future of Nostalgia. It is precisely between these two markers that we can critically view the undertaking of the 1968 world Olympics held in Mexico City, whose[…]

Brick by Brick

PER KIRKEBY // KUNSTHALLE KREMS By Ezara Spangl The exhibition of Per Kirkeby’s works, currently on view at Kunsthalle Krems, appears to function as a sort of diminutive retrospective. The artist’s drawings and paintings are emphasized alongside his multifaceted practice—yet, what can be seen as one of the leading works within the show is a[…]

The Psychology of Painting

DEXTER DALWOOD // PROFILE OF THE ARTIST By Alfredo Cramerotti The following conversation between writer Alfredo Cramerotti and artist Dexter Dalwood took place during the preparation for his solo exhibition at Simon Lee Gallery in London in March 2019. Dalwood (b. 1960 in Bristol, England) lives in London and has shown extensively throughout Europe, North[…]

Changes in Looking

VIEWING CONFLICT PHOTOGRAPHY // DON MCCULLIN By William Davie The Tate Britain’s deeply moving retrospective of photographer Don McCullin signals a sea change in the institution’s outlook on photography. McCullin, the first living British photographer to have a career survey at any of the Tate galleries, forged his reputation as a conflict photographer, an arena[…]


By Marina Resende Santos Artists Joãozito Pereira, who passed away in 2017, and Lanussi Pasquali were the founders of Projeto Ativa, based in the city of Salvador, Brazil. Projeto Ativa identifies disused spaces in public areas of the city and proposes to activate them for contemporary art. Their most significant project was the occupation of[…]


By William Davie Before the Museo MADRE opened in 2005, there was no dedicated museum for contemporary art in Naples. Temporary exhibitions were staged in dialogue with classical art or archology at museums such as the Museo Archeologico Nazionale di Napoli and public programs were initiated—contemporary art was incorporated into the architecture of metro stations and[…]


By Dr. Kostas Prapoglou The diversity of the visual vocabulary of Heidi Bucher (1926-1993) stems from her unique relationship with space and time and the way these two intertwine with her life experiences and their emotional backdrop. Born in Winterthur, Switzerland, she attended the School for the Applied Arts in Zurich, moved with her family to[…]


By Natalie Hegert In Walead Beshty’s work, the means of a work’s production—the various material transformations and transferences that it undergoes, even its transportation—becomes central to the work itself. In the 2008 Whitney Biennial, Beshty displayed prints from negatives that had been exposed to X-ray as they passed through airport terminals, thus bearing, in a[…]


By Vanessa Gravenor In Helmut Lethen’s text ‘“Knall als sich”: Das Ohr als Einbruchstelle des Traumas,’1 he reflects on the technical shock the machine gun had on WWI soldiers. Rather than the following the majority of post-traumatic stress theory (and post structuralist theory for that matter) that focuses on the image as the site of[…]


by Dr Kostas Prapoglou The solo exhibition of New York-based artist Adam Pendleton at Pace London showcases recent and new works spanning the gallery’s ground floor space. The works on view comprise of one mural piece, Wall Work, Midnight (A Victim of American Democracy) (2017) accompanied by several small System of Display works, four Untitled[…]

Beyond, Between, and Under the Border

NAVIGATING THE CARCERAL STATE By Hiba Ali A border is nothing but a man-made fiction, imagined and realized by those who would never be imprisoned within its bounds. To colonizers, borders were pure cartography—settling matters after beating the enemy. With pen to paper, business was conducted, and a deal was made. To Europeans, North America[…]

From Print to Negative, and Vice Versa

MLADEN BIZUMIC // PROFILE OF THE ARTIST By Alfredo Cramerotti The following conversation between writer Alfredo Cramerotti and artist Mladen Bizumic took place during lunch in the leafy garden of a restaurant in the Museum Quarter of Vienna, in June 2018. It just preceded the preparation for a group show at the Society for Projective[…]

Refiguring Monstrosity

MOREHSHIN ALLAHYARI // WHITNEY MUSEUM OF AMERICAN ART By Joel Kuennnen Morehshin Allahyari’s latest work is a hypertext fable hosted on the Whitney Museum of American Art’s artport, its online exhibition portal for new media and net art commissions. The Laughing Snake (2018) blends personal narrative and lore in a black, reflective, 3D-modeled environment. The[…]

Leonor Antunes

A THOUSAND REALITIES FROM AN ORIGINAL MARK // MARIAN GOODMAN GALLERY By Kostas Prapoglou Portuguese-born, Berlin-based artist Leonor Antunes receives her inspiration from tropes within modern art, architecture, and design. Reconsidering and reimagining their applications to sculpture and space, she creates works by questioning and surveying spatial relationships and interactivity while simultaneously taking into consideration[…]

Against the Biennale

WE DON’T NEED ANOTHER HERO // BERLIN BIENNALE 10 By Gabrielle Welsh In late July, I stumbled my way into the KW Institute for Contemporary Art, in search of the press entry into the tenth edition of the Berlin Biennale without a press badge or any official credentials, but with a student ID (useless) and[…]

The World as Supermarket and as Derision

MICHEL HOUELLEBECQ // KUNSTHALLE BRATISLAVA By Ezara Spangl Upon entering the glass street-level exhibition space of the Kunsthalle Bratislava LAB to view the exhibition of Michel Houellebecq’s photography, a gallery attendant approaches, with exhibition reading materials in hand dubiously state dramatically ironic information: the artist’s images are unrelated to his literature. She adds, on a[…]

Tourism, In Passing

A SERIES OF VIGNETTES By Naoki Sutter-Shudo We might never again live in a world with a real belief in permanence. The advent of thermodynamics and its accompanying concept of entropy, has given us the modern knowledge that chaos unavoidably prevails. No system is stable. Still-life paintings, based on actual witnessed scenes— whether seen live[…]


Presented as a part of /Dialogues May 27, 2018 Courtyard, U.S. Pavilion (Venice, Italy) Panelists: Shani Crowe, Andres L. Hernandez, and Amanda Williams Moderated by Stephanie Cristello (Editor-in-Chief, THE SEEN ) The following transcription follows a panel organized as part of the U.S. Pavilion opening program at the 16th International Architecture Exhibition at the Venice Biennale,[…]


By Noah Hanna On the 29th of February 1960, an earthquake destroyed the Moroccan coastal city of Agadir, killing nearly fifteen thousand people and leaving the city in ruin. Despite the devastation, Morocco’s king Mohammed V ordered the resurrection of the city, declaring, “If destiny decided the destruction of Agadir, its rebuilding depends on our[…]