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rate_review review schedule May 15, 2026 visibility 2 link 6 artists

Zurbarán: a ‘magnificently choreographed’ showing of the Spanish ‘genius’

The article reviews the first-ever British exhibition dedicated to Spanish Baroque painter Francisco de Zurbarán, held at the National Gallery in London. The show brings together 40 works from collections spanning Seville to San Diego, featuring his hyper-real religious paintings and radiant still lifes, described as a 'magnificently choreographed' trawl through his oeuvre. Critics praise the exhibition for its dramatic lighting and revelatory presentation, though some note uneven quality in his later works.

newspaper The Week open_in_new Read original

rate_review review schedule May 11, 2026 visibility 10 link 4 artists

Did Zurbarán Believe What He Painted?

An exhibition of Francisco de Zurbarán's 17th-century religious paintings at London's National Gallery prompts a critic to question whether the artist's personal faith influenced his artistic skill. The show features monumental works from Spanish churches and monasteries, displayed dramatically against black walls, including crucifixion scenes, monks, and saints. The critic notes that no personal records of Zurbarán survive—only contracts—leaving his beliefs unknown, and compares him to Agnolo Bronzino, who painted pious scenes but wrote obscene verses. A small painting of a crucified Christ with a painter, possibly a self-portrait of Bronzino, is presented as ambiguous evidence of faith.

newspaper Hyperallergic open_in_new Read original

rate_review review schedule May 15, 2026 visibility 4 link 12 artists

The Politics of In-action: Review of In-action: Viennese Actionism and the Passivities of Performance Art

Caroline Lillian Schopp's new book *In-action: Viennese Actionism and the Passivities of Performance Art* (2025) offers a revisionist history of Viennese Actionism, a movement retroactively named in 1970 by Peter Weibel and Valie Export. Schopp introduces the term "in-action" to describe a politics of artistic action that emphasizes intimacy, hesitation, and vulnerability rather than the violent or liberatory extremes typically associated with the movement. She expands the canon to include women artists such as Anna Brus, Hanel Koeck, and Ingrid Wiener, and reexamines the work of Rudolf Schwarzkogler, whose death was mythologized as a suicide by self-castration but was actually a fall from a window. Through close readings of photographs, Schopp argues that Schwarzkogler's performances were characterized by passivity and "in-sincerity," challenging the dominant narrative of actionism as aggressive or heroic.

newspaper e-flux open_in_new Read original

rate_review review schedule May 12, 2026 visibility 11 link 4 artists, 1 gallery

Adrian Ghenie: Roman Campagna | Exhibition review

Adrian Ghenie's exhibition "Roman Campagna" at a Paris gallery presents a series of paintings and charcoal drawings that subvert the romantic cliché of an artist's transformative encounter with Rome. Ghenie populates landscapes inspired by the Appian Way with grotesque, alien-headed figures hunched over smartphones, urinating on monuments, or weeping at sunsets, using brown and grey tones punctuated by bright colors. The works reference Francis Bacon and William S. Burroughs, and include direct allusions to Bacon's reinterpretation of van Gogh's self-portrait, as well as a copy of a Pompeii mosaic. The show also features large charcoal drawings on paper that reveal Ghenie's process of constructing his contemporary, alienated figures.

newspaper Thaddaeus Ropac open_in_new Read original