Pablo Larios

Does an automaton-filled future spell the end of work, of life? A report from the future-focused Vienna Biennale 2017

For the first in a series of our editors’ initial impressions from documenta 14 Kassel, Pablo Larios on the Neue Galerie

The best of the National Pavilions across the city and the Fondazione Prada’s intricate, collaborative exhibition

Dara Friedman, Dichter, 2017, four-channel video projection,16mm film transferred to HD video, color, sound. Courtesy the artist and Supportico Lopez, Berlin
 

Supportico Lopez, Berlin, Germany

Ahead of Art Cologne this week, a guide to the best current shows in the city

For the first in a series of our editors’ initial impressions from documenta 14 Athens, Pablo Larios takes a look at the ASFA

Adrian Piper, The Probable Trust Registry: The Rules of the Game #1-3, 2013-2017. Courtesy: Staatliche Museen zu Berlin Collection, Nationalgalerie's Friends, Adrian Piper Research Archive Foundation Berlin and APRA Foundation Berlin

Hamburger Bahnhof, Berlin

This year’s prize, judged by Ed Atkins, Chris Kraus and Pablo Larios, is now open for entries

How should the artistic community respond when an art space, explicitly or implicitly, associates itself with right-wing sentiment?

Is a shipping container a good metaphor for a white cube, or vice versa?

Centre d'Art Contemporain, Geneva

From Donald Trump's post-truth to Andy Warhol's philosophy, and back again