Kai Althoff

The German artist’s latest exhibition in New York ‘reopens the wounds of colonialism’ – supposedly

By Harry Thorne
Harmut Geerken, photograph of Sun Ra Arkestra performing at Heliopolis/Egypt, December 12, 1971. Courtesy: Galerie Buchholz, New York 

New York

2 Nov
13 Jan
I will be last (performed by Brett Milspaw and Alexandra Tuttle), performance documentation, Vancouver Art Gallery, 2008. Courtesy: the artist and Gladstone Gallery, New York; Michael Werner, London; Galerie Neu, Berlin

With the opening of artist's major MoMA show, some reflections on Kai Althoff's exalted characters and metaphysical aims

By Manfred Hermes
Stephan Abry and Kai Althoff performing a concert in a meadow, 1980. Photograph: Dieter Althoff

David Grubbs on Kai Althoff's recorded music, in the new issue of frieze d/e out now

By David Grubbs

Tobias Madison on the 2001 album Es liebt Dich und Deine Köperlichkeit ein Ausgeflippter by Workshop

By Tobias Madison

Lena Henke on Kai Althoff and Lutz Braun's installation Kolten Flynn (2006)

By Lena Henke

Mathieu Malouf on material juxtapositions in Kai Althoff's works from 2007

By Mathieu Malouf

A Man Walks his Dog in the Park

By Yair Oelbaum
Untitled, 2011, coloured pencil and ink of paper. Courtesy: the artist and Gladstone Gallery, New York; Michael Werner, London; Galerie Neu, Berlin

Kai's Boutique

By Pablo Larios

Nicolaus Schafhausen on Germany, origins and individualism as utopia in the work of Kai Althoff

By Nicolaus Schafhausen
Untitled, 2012–14, colour pencil  and felt-tip pen on paper,  1.7 × 1.9 m. All images © the artist; courtesy Michael Werner Gallery, New York and London

The recent work of Kai Althoff

By Michael Bracewell

Kai Althoff’s enigmatic installations, performances and paintings resist easy answers in their explorations of sexuality and spirituality

By Natalie Haddad