For years, a fissure could be felt beneath the polished surface of the contemporary art market, an invisible yet growing crack made of excess, saturation, and fatigue. Today, that crack has become a fracture. Auctions are slowing, sales are falling, galleries are closing or even converting into non-

On September 11th, the Stedelijk Museum (Amsterdam, NL) opened Skin to Skin, the new solo show by Sandra Mujinga, a portal to a unique parallel world. Conceived as a void, the exhibition room presents itself as a green space, translating the concept of the digital green screen into physical reality.

We might say, exaggerating just a little and using this as a provocation to open the article, that all contemporary art is, ultimately, documentation. This is not a mere semantic shift but an observation rooted in the very nature of artistic languages, which arise and evolve with a specific function

When Nicolas Bourriaud published his seminal text Relational Aesthetics in 1998, his thesis emerged as a necessary departure from the object-based and self-referential forms of 1980s art. The artwork was no longer conceived as a closed entity, but as a generative device for human relationships, capa

When the old is dying and the new delays, a counter-movement rises in the infrathin of the now. Outside the prestige ecosystems of museums, biennials, and the increasing artist-run spaces, the figure of the independent curator moves on unsteady grounds marked by precarity given by the ongoing lack o

Fakewhale Log is the media layer of Fakewhale. It explores how new technologies are reshaping artistic practices and cultural narratives, combining curated insights, critical reviews, and direct dialogue with leading voices.