Art Review #66

Turner-Prize winner Simon Starling uses objects to generate sprawling narrative tales that often involving the fabrication, display and dissemination of other art objects. Ahead of the unveiling of Starling’s film installation ‘Phantom Ride’, his new Duveen Galleries commission for Tate, Mark Rappolt explores how the artist continues to test the limits of what one can squeeze into – and out of – a work of art.

Every year we take a big collective breath and, along with a panel of distinguished artworld colleagues and friends, unveil to the world those artists we think are going to make their mark in the coming year. This year’s 28 are both young artists showing remarkable promise and older artists who, while having worked consistently for many years, are only just gaining the recognition they deserve.

Berlin has an almost mythical reputation as a centre of artistic licence and creativity, powering the European art scene, but is there any truth in all this? ArtReview convened a panel of experts representing the various constituencies of the local artworld – an artist, an established gallerist, an emerging gallerist, the director of a public institution, a critic and the director of a foundation – to find out. The second in a three-part series.