The Suiciders excerpt

by Travis Jeppesen on October 18, 2009

An excerpt from my novel-in-progress, The Suiciders, is now online at

Mat Collishaw

by Travis Jeppesen on October 16, 2009

“Now that postmodernism is beginning to appear an almost retro stance, it is artists like Collishaw, who interrogates histories through the disparate prisms of technologies recent and refurbished, that demonstrate how to make it new in even newer ways.”

My review of Mat Collishaw’s current Berlin solo exhibition is now online at Artforum.

Christian Siekmeier interview

by Travis Jeppesen on October 14, 2009

“Exile has per its name no real stable home. It is a fluctuant space that can (and will if conditions change) move to anywhere else in the world where the necessary conditions are more fertile.”

My interview with Exile Projects founder Christian Siekmeier is now online at Whitehot Magazine of Contemporary Art.

Christophe Chemin screening tomorrow night in Berlin

by Travis Jeppesen on October 13, 2009


At the next SLUM, we are pleased to announce that we will be screening rare early films of Christophe Chemin. This is meant to coincide with the current exhibition of Christophe, “Rats & Children,” at the RISE Gallery here in Berlin — if you haven’t been yet, we strongly recommend checking this show out.

Christophe Chemin is also known as the co-star of Bruce Labruce’s “Otto; or, Up With Dead People!” He designed the sets and costumes for the play “Daddy” by Travis Jeppesen, which premiered at the HAU Theater in June under the direction of Ron Athey. Chemin is currently in post-production for a feature film he directed that will be premiered later this month at the Jack Smith Festival.

SLUM – every Wednesday at

Ficken3000, Urbanstr. 70, Berlin

Doors open at 22:00.

GG Allin Hails a Cab

by Travis Jeppesen on October 9, 2009

A Youtube short story on

Ricarda Roggan

by Travis Jeppesen on October 7, 2009

My review of Ricarda Roggan’s current Berlin show is now online at Artforum.

New Berlin Galleries

by Travis Jeppesen on September 27, 2009

I’m doing a series of interviews with emerging Berlin gallerists at Whitehot Magazine. You can now read the first two interviews in the series, with Michael Rade of STYX Project Space and Jesi Khadivi of Golden Parachutes.

Federico Forlani

by Travis Jeppesen on September 22, 2009

Federico Forlani is one of a new breed of young Italian artists working in photography who, through an inventive configuration of the diaristic and the theatrical, explores the limitations of the self. With great sensitivity towards his subjects, which often include the artist himself, Forlani evokes a poetic universe that runs counter to the immersive reality of our everyday lives. It is a pensive universe where love and beauty rule over all practical considerations, a place of suspended gestures that, in their quietude, somehow manage to declaim their truths louder than any words. It is a universe I wish I could inhabit.

Ceal Floyer at Kunst-Werke

by Travis Jeppesen on September 14, 2009

My review of Ceal Floyer’s solo exhibition at Kunst-Werke is now online at Artforum.

TONIGHT: Luigi y Luca opening at Artbar, Berlin

by Travis Jeppesen on August 15, 2009

Photography always tells us more about its subjects than they might wish to reveal. In this sense, it is different from the other arts, in that it serves as a collaboration between the artist and the medium. Luigi y Luca understand this better than any other artist duo to have confined themselves to photographic art; unlike most photographers who prefer to look out at the world around them, Luigi y Luca prefer to use the lens as a tool for looking within. In subjecting themselves to this alluring means of inquiry, Luigi y Luca bravely place one another in an extremely vulnerable state, revealing intimate truths about their lives that most of us prefer to keep private.

The Private Album occupies a special place in Luigi y Luca’s developing oeuvre, in that it completely foregoes the glamorous lighting, sets, costumes, and props that have become a hallmark of the duo’s work. An unheralded intimacy occupies the foreground here, affording us a “day in the life” glimpse of the artists-as-lovers in hotels, bathrooms, and beaches during a year of travel through Spain and the United States. No one is as generous as Luigi y Luca in exposing their desires, uncertainties, and love for one another across this shifting domestic terrain. This is the diary of a love-in-progress between two artists continually exploring new ways of uniting as one.

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