Everything feels suspended. Surfaces bear the weight of time, marked by slow erosion, gestures that linger just long enough to fade. The light is cold, sharp. The air is thick, slow-moving. Somewhere, a countdown ticks, not toward an answer, but toward endurance, a stretched-out waiting.

A gymnasium dressed for a prom. A wall stained by an old fire. A body still, just long enough to be mistaken for sculpture. There’s a tension here, a pull between spectacle and silence, between performance and collapse. Between the privilege of watching and the quiet unease of being watched.

A flash burns the moment into being, Jacopo Benassi’s raw, unfiltered gaze resists perfection, embracing imperfection as truth. Kanrec Sakul’s smoke drifts and stains, dissolving the boundaries of identity and time. Anne Imhof’s DOOM unfolds in slow collapse, a staged indifference that fractures, revealing the tension between spectacle and protest. From blinding exposure to quiet erosion, these works remind us: if everything is in flux, what is left to hold onto?

Fakewhale had the pleasure of speaking with Jacopo Benassi, a multifaceted artist who moves fluidly between photography, performance, publishing, and contemporary art, constantly challenging the boundaries between these disciplines. His work is a radical act: from his exclusive use of flash, which gives his shots a raw, unfiltered aesthetic, to his reflections on photography in the digital age, his vision is always pushed to the edge. In this interview, we explored his relationship with imperfection, his thoughts on nihilism, and the visceral tension that defines his artistic research.

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We at Fakewhale followed the buzz around Anne Imhof’s much-anticipated return to New York, where her new major U.S. production, DOOM: House of Hope, took over the Park Avenue Armory. The German artist, who won the Golden Lion at the 2017 Venice Biennale with Faust, is no stranger to controversy (think of DEAL at MoMA PS1 in 2015, when live rabbits onstage disconcerted American audiences). This time, she has orchestrated a massive, immersive “superscore” incorporating more than fifty performers: skaters, actors, musicians, and ballet dancers among them.

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Daniel Turner’s work exists in a space where materiality is both presence and absence, where objects are not simply created but transformed, reduced, or even erased. His sculptural practice does not rely on traditional notions of form but instead explores how matter can be subjected to time, corrosion, and physical alteration. By using industrial processes such as oxidation, combustion, and dissolution, Turner challenges the idea of permanence in sculpture, shifting the focus toward residue, memory, and the traces left behind. […]

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Authors' Insights explores experimental practices spanning sculpture, installation, video art, and transdisciplinary research. As part of the Fakewhale LOG, it provides writers, curators, and art professionals a platform to exchange perspectives, driving deeper engagement with contemporary critical discourse.

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Are you a writer, curator, or art professional? Do you have a unique perspective to share or a critical reflection that could enrich the contemporary debate? Fakewhale invites you to contribute to the new “Authors Insights” section. Reach out at [email protected]

I haven’t had the chance to check out But Can It Run Doom IRL. Sadly. But in a way, I’ve been there. Before I mean. Maybe not in the physical white-walled space of Super Dakota, but in the glow of old CRT screens, in the weight of a console in my hands, in the moments where a game lingers just a li’l too long on the edge of something almost emotional, almost human. Janne Schimmel’s solo exhibition is about hardware and games, about memory, persistence, and about subverting the planned obsolescence that represent most of our digital culture. About dead tech that refuses to die. About ghosts that refuse to be exorcized. About god-like machines that are god actually.

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Today, Visual Detachment returns exclusively at Verse with a new Fakewhale Gallery format that interrogates our ingrained modes of seeing. By centering on the concept of “retina misconceptions,” this exhibition dissects the biases embedded in our visual apparatus and explores how digital art can liberate creative expression from the constraints of traditional media.

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That wraps this week’s issue of the Fakewhale Newsletter, be sure to check in for the next one for more insights into the Fakewhale ecosystem!