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ArtReview April 2022

ArtReview April 2022

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What's inside the issue?

Art Previewed
The Interview: Harry Gould Harvey IV by Ross Simonini
I to I by Emmanuel Iduma
Marine Serre’s Art of Upcycling by Clara Young
Return of the Yogi by Mark Rappolt
Who Is Venice Really For? by Martin Herbert
Celebrating Brazil’s Avant-Gardes by Oliver Basciano

Art Featured
Apichatpong Weerasethakul by Max Crosbie-Jones
Kerima Tariman by Marv Recinto
Venice Without Spectacle
Maria Eichhorn by Martin Herbert
Tomo Savić-Gecan by Martin Herbert
A Tale of Two Lagoons by Craig Burnett

Art Reviewed
Hassan Khan, by Sarah Moroz
Architectures of Decolonization in South Asia, 1947–1985, by Ela Bittencourt
Donna Huanca, by Ren Scateni
Ashley Bickerton, by Owen Duffy
Hawai'i Triennial 2022, by Patrick J. Reed
Younès Rahmoun, by Digby Warde-Aldam
Cooper Jacoby, by Athanasios Argianas
Faith Ringgold, by Ben Eastham Patrick Goddard, by Samuel Solnick
Giorgio Griffa, by Ana Vukadin
Tori Wrånes, by Cat Kron CAMP, by Andrew Russeth
Before I met you the world seemed like such a big place… now there is only this shop, by Claire Koron Elat
Alegria, uma Invenção, by Oliver Basciano
Hayv Kahraman, by Salena Barry
Bernard Piffaretti, by Salena Barry
Flora Yukhnovich, by J. J. Charlesworth
Ho Rui An, by Max Crosbie-Jones
10th Asia Pacific Triennial of Contemporary Art, by Naomi Riddle

Books
At Home in the World: A Memoir, by Ibrahim El-Salahi, reviewed by Mark Rappolt
Scattered All Over the Earth, by Yoko Tawada, reviewed by Thu-Huong Ha
Shamans of the Blind Country, by Michael Oppitz, reviewed by Fi Churchman
Pure Colour, by Sheila Heti, reviewed by Lucy Mercer
Scorched Earth, by Jonathan Crary, reviewed by J. J. Charlesworth
Burning Questions, by Margaret Atwood, reviewed by Louise Darblay
Peach Blossom Spring, by Melissa Fu, reviewed by Nirmala Devi

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