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Danh Vo

In times of political turmoil, art is a necessary rebuke to escapism

By Negar Azimi

Political histories interweave with personal narratives of familial displacement, queer loss and desire at the Guggenheim Museum, New York

By Shiv Kotecha
Danh Vo, She was more like a beauty queen from a movie scene, 2009. Collection of Chantal Crousel. Photo: Jean-Daniel Pellen, Paris

New York

9 Feb
9 May
Photography: Clément Pascal

From major institutional shows to the most-talked restaurants

Martin Wong, INRI, 1984, acrylic on canvas, 91 x 91 cm

Punta della Dogana, Venice, Italy

By Caoimhín Mac Giolla Léith
‘Portable Classic’, 2015, exhibition view at Fondazione Prada Venice

56th Venice Biennale, various venues, Italy

By Barbara Casavecchia
Your mother sucks cocks in hell, 2015, fragment of a marble sculpture  of a child from a Roman workshop,  1st–2nd century CE; oak and  polychrome Madonna and child, French  early gothic; plywood, 53 × 40 × 35 cm. Courtesy: the artist and Marian Goodman, London and New York; photographs: Stephen White

Connections across time and place in the work of Danh Vo

Nantapol and Pruan Panicharam hammer gold as part of Danh Vō & Xiu Xiu’s performance ‘Metal’, 2014

The Kitchen, New York, USA

By Dan Fox

The myriad ways in which contemporary artists have been dealing with their ambivalent relationship to the ready-made

Vietnamese artist Danh Vo and Thai photographer Pratchaya Phinthong journey to Vietnam’s Central Highlands

By Dominic Eichler