Profiles

Why Cosima von Bonin installed a vomiting sculpture on the facade of mumok in Vienna

A visit to the Wende Museum in LA, the unlikely home to artefacts from the former Eastern Bloc

Living and thinking in Berlin: two recent films by Max Linz and Stephan Geene

Stefan Goldmann asks how Berlin-made music software has affected global club sounds

Über No Home Movie, den letzten Film von Chantal Akerman, auf der Viennale 2015

The dark, unsettling feminism of Jacqueline Rose

‘There’s no extracting the concept from the commodity in any of Hoff’s many strands of work’

Frederick Wiseman’s new documentary about London’s National Gallery

With mordant humour, the art of Michael E. Smith plots the bleak landscapes of exurban America

The life and legacy of the wildly inventive choreographer and performer Loie Fuller

The return of Kenneth Clark's trailblazing television series

Giorgio de Chirico's influence of the 20th-century imagination

20th-century illustrations of Fantômas

Wenn ich an Harun Farocki denke, denke ich zuallererst an seine Stimme. Lange bevor ich ihn zum ersten Mal persönlich traf, war mir diese Stimme längst vertraut aus seinen Filmen. Sie begleitet uns durch Farockis filmisches Werk, sie trägt uns durch die montierten Bilder, zieht uns hinein in seine Überlegungen und Untersuchungen. Diese Stimme hat großen Anteil daran, dass uns seine Filme berühren und weiter berühren werden.

How inmates of a young adults’ prison near Bamberg recreated a piece by Charlotte Posenenske

9 January 1944 – 30 July 2014

How DJ Richard and White Material are bucking expectations to be distinct

Fashion designer Hussein Chalayan talks about his new role as professor at the Angewandte in Vienna

Cinema, growing up & Richard Linklater’s Boyhood

A new work by jazz pioneer Anthony Braxton