To transport an Occupy movement to the sanitized dominion of a museum is, as my art historian friends would say, problematic.  This year’s incarnation of the Berlin Biennale (the seventh) has thus far received anemic reviews, with some hinting at real vitriol.  The exhibition is partly as curator Artur Zmijewski envisioned it; full o’ problems.  In interviews Zmijewski offers cryptic monologues about equally cryptic solutions.[.....]

As part of our ongoing partnership with Art Practical, Daily Serving is sharing Danielle Sommer’s article on Riga 23′s Programa Espacial Autónomo InterGalactico, at REDCAT in Los Angeles. The Portuguese artist Ricardo Gouveia, or Rigo 23, might be best known for his series of larger-than-life, one-way-sign-inspired murals, painted on buildings across San Francisco, where the artist has lived since the 1980s. For the better part of[.....]

Leaving the crowds behind after the frenzied week of Frieze, I headed down to the New Museum after waiting for a month in anticipation to see some of my favorite artists show under one roof. Though there are numerous shows currently at the New Museum, I was there to see Phyllida Barlow, Tacita Dean and Nathalie Djurberg, all artists with whom I have had minimal[.....]

I used to have a secret garden. Even though it was technically communal (which slightly undermines the essence of secrecy) it was rarely visited by anyone and wildly overgrown. Especially in summer you could get lost between the ancient trees and unkept rosebushes and safely hide from the perils of the outside world. I occasionally invited someone around for a midnight picnic, and often spent lazy[.....]

Running alongside Tenth Avenue for approximately twenty blocks in Chelsea, The High Line has become a household term amongst Manhattanites since 2009 when it first became accessible as a public park. Since then – and especially within the last year – The High Line has ignited widespread murmur relating to its breathtaking architecture, imaginative urban integration and more recently its emergence as the local gallery[.....]

The thing about traveling on an airplane is that we take for granted how phenomenally absurd it is. There we sit, unfazed, hurdling through space at 500 miles per hour, 30,000 feet above the ground in a metal tube, surrounded by complete strangers whom in all likelihood we will never see again. There is also the unspoken airplane etiquette that we all hope the stranger[.....]

British-born photo, video and performance-based artist Gillian Wearing is best known for bringing home the 1997 Turner prize and her series of direct street portraits, Signs that say what you want them to say and not Signs that say what someone else wants you to say (1992-3). At London’s Whitechapel Gallery, the artist presents a fascinating collection of honest, if not creepy, portraits in an[.....]