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Noemi Smolik

The artist explores the influence of myths and tales on present-day Georgia at Bundeskunsthalle, Bonn

By Noemi Smolik

Viewers of the artist's exhibition ‘Let It Come Down’ at Bonner Kunstverein, Germany, experience the curious inbetweenness of a limbo state

By Noemi Smolik
Monika Stricker, 'Stereo Balls', 2017, mixed media, sound installation, dimensions variable. Courtesy: Clages, Cologne

Clages, Cologne, Germany

By Noemi Smolik
Ulrike Rosenbach, ‘Art Meets Feminism No.1', 2017, installation view, Priska Pasquer. Courtesy: Priska Pasquer, Cologne

Priska Pasquer, Cologne, Germany

By Noemi Smolik

Jan Bonny and Alex Wissel’s new film project, ‘Rheingold’, sends up the ethical superiority of art making versus capitalist production

By Noemi Smolik
Maruki Iri & Toshi, Fire (Panel II), 1950-82, 180 x 720 cm. Courtesy: Maruki Gallery, Higashi-Matsuyama, Saitama, Japan 

Haus der Kunst, Munich, Germany

By Noemi Smolik

The audacious mixing of heritage and innovation in the Georgian capital

By Noemi Smolik
Barend Servet, 1973, production still. Courtesy: NOB-AVAC photo archive

Wim T. Schippers on his long and diverse career

By Noemi Smolik
Riga by night

Despite its troubled history the Latvian capital is looking to the future

By Noemi Smolik

Museum Folkwang, Essen, Deutschland

By Noemi Smolik
Kazimir Malevich, Self Portrait, 1908-1910, State Tretyakov Gallery, Moscow

Kazimir Malevich, who is the subject of a retrospective at Tate Modern, London, is generally considered a difficult mystic 

By Noemi Smolik
Von links nach rechts: Mark Dion (sitzend), Cary Fowler, Marta Kuzma, Carolyn Christov-Bakargiev, Amar Kanwar

Die künstlerische Leiterin der dOCUMENTA (13), Carolyn Christov-Bakargiev, sprach mit Noemi Smolik über die Entstehung der Ausstellung – und wie man dabei das Konzept über Bord wirft

By Noemi Smolik