Art Monthly 418: Jul-Aug 2018

Art Monthly cover Art Monthly back cover
Banu Cennetoglu

Interviewed by Alexander Massouras

Health v Wealth

Giulia Smith

Berlin Biennale

Chris Clarke

Istanbul • Helsinki • Kiev

Vassilios Doupas • Rob La Frenais • Phoebe Blatton

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Banu Cennetoglu The List 2011


The List

Banu Cennetoglu interviewed by Alexander Massouras

The Istanbul-based artist discusses the politics of memory, the importance of visibility and the impossibility of representation.

The List can be in their life at least for a limited period of time – on the street, while waiting for the bus or with the morning coffee reading the morning paper. I refused to put it in art spaces. I wanted the interaction to be as un-negotiated an encounter as possible, but within a negotiated space – public spaces such as billboards, transport networks, newspapers.
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Oreet Ashery Revisiting Genesis 2016


Health v Wealth

In the face of increasing privatisation in the UK Giulia Smith discusses the politics of health

Drawing on examples by artists and activists from Ilona Sagar and Johanna Hedva to Oreet Ashery, Simone Leigh and Alice Brooke, she looks at alternative practices and approaches to health issues.

There is no reason to disagree with the rationale, cited on ACE's website, that 'good health and wellbeing are reliant on all kinds of factors, not just physical, but also psychological and social', meaning that art has a big role to play in the wellbeing of communities. What is disturbing, however, is that artists and cultural institutions are being encouraged to step in where the state is withdrawing.



Floating Ideas

London's bodies of water have long played host to interventions by artists of various stripes, but Christo and Jean-Claude's Mastaba – docked in Hyde Park's Serpentine lake – should be considered an object lesson, not in form, but in artistic independence from state or other interference.

'I devised a giant copper ball which could be placed in the river, and which would rise and fall with the tide like the plumbing in a toilet.'


Other Follies

Michael Hampton responds to Lara Eggleton's feature on artists' architectural follies, and Lara Eggleton replies.


Glasgow Déjà Vu

Glasgow School of Art has suffered a second devastating fire in four years; annual figures for arts GCSE registrations reveal an accelerating decline; the UK government is to use the remnants of its Northern Cultural Regeneration Fund for an instrumentalist social-investment fund for creative projects; the EU plans to increase its arts funding; plus the latest news on galleries, appointments, prizes and more.

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Tony Cokes Black Celebration 1988
part of the 10th Berlin Biennale


Martha Rosler and Hito Steyerl: War Games

Stephanie Schwartz

10th Berlin Biennale: We Don't Need Another Hero

Chris Clarke

Giuseppe Penone: A Tree in the Wood

Virginia Whiles

At Altitude

Paul Carey-Kent

Whitstable Biennale: Swimming Home

Ellen Mara De Wachter

Danielle Dean and Jeanine Oleson: Landed

Lauren Velvick

Meriem Bennani: Siham & Hafida

Dan Ward

Eve Fowler: what a slight. what a sound. what a universal shudder.

Catherine Spencer

Received Dissent: An American Mail Art Project

David Briers

Jennet Thomas: Animal Condensed >> Animal Expanded

Maria Walsh

Günther Förg: A Fragile Beauty

Mark Prince

Art and China after 1989: Theatre of the World

David Trigg


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Rolf Thissen Warum Katzen? (Why Cats?) 1969


Oberhausen: Leaving the Cinema

Adam Pugh

The artist dismembers a cat arduously using what appears to be a bread knife with apparent glee; the programme was as tough as it gets, though still marginally more tolerable than having to sit through a Wes Anderson film.


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Babette Mangolte What Maisie Knew 1975


Babette Mangolte: How to Look…

Alexandra Symons Sutcliffe

Film creates the image of movement by manufacturing stillness. Clearly and immediately in How to Look… The still and moving image are in tension and conversation.


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Daria Martin A Hunger Artist 2017


Daria Martin: A Hunger Artist

Lara Eggleton

Daria Martin likens the hunger artist's self- objectification to the narcissistic posturing that characterises social media, with photographs sold alongside his performances that emphasise his emaciation and suffering.


Artists' Books

Wolfgang Tillmans: What Is Different?

Elinor Morgan

It feels like an attempt to understand, a gathering of perspectives for the future, during an important and complicated moment.



London Art Worlds: Mobile, Contingent, and Ephemeral Networks 1960-1980

Jennifer Thatcher

The essays of this book are careful to avoid falling into the nostalgia trap of the so-called Swinging Sixties.


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Alp Esin Bucket and Stick 2015

Letter from Istanbul


Vassilios Doupas

It strikes me as a paradox that banks, which are deeply embedded in the mechanisms of power and the reproduction of hegemonic structures, should be the main supporters of culture.


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Karel Koplimets Case No13 Waiting for the Ship of Empties 2017

Letter from Helsinki


Rob La Frenais

In an unusual move, the private foundations are also seeding the currently underdeveloped commercial art market in Helsinki.


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People's Friendship Arch

Letter from Kiev

The Wall

Phoebe Blatton

Its restoration illuminates a revolving system of commission, construction and vandalism within the Soviet era that operated according to changing political agendas, as with anywhere, and that obviously continues.


Ways of Working


Henry Lydiate

An obvious possibility for the use of blockchain technology is the documention of unassailable records of provenance of ownership, which raises key question as to whether there are wider and more profound applications of blockchain technology in the art world.




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