Tussle Magazine/Projects

Tussle Magazine/Projects TUSSLE was founded in 2013 by Laura Horne and is currently located in New York City. Tussle is an in

tus·sle
ˈtəsəl'
noun
a vigorous struggle or scuffle, typically in order to obtain or achieve something.
​
TUSSLE was founded in 2013 by Laura Horne and is currently located in New York City. Tussle is an independent artist-run online publication and exhibition project platform. Tussle magazine showcases contemporary art in the form of interviews, studio visits, and exhibition reviews. TussleProjec

ts is an online exhibition and platform for collaborations and projects which came to fruition in 2020 during the global pandemic.

Link in bio to read two reviews:When “That’s OK” Becomes a DemandReview of the group exhibition I'm a Cyborg, But That’s...
06/05/2026

Link in bio to read two reviews:

When “That’s OK” Becomes a Demand

Review of the group exhibition I'm a Cyborg, But That’s OK at Aunty's House, Providence, RI

by Xumeng Zhang

AND

To Fall Into Reverie, Without Reserve

——Art Review of 'I'm a Cyborg, but That's OK'

by Rachel Zheng

'I'm a Cyborg, but That's OK', on view at Aunty's House Studios in Providence, brings together five artists — Sharon Cheuk Wun Lee, Sherly Fan, Silvia Muleo, Olivia Saporito, and Phoebe Quin Kong — curated by April Liu and Shuhan Zhang around what they describe as a "low-power and non-restorative mode of existence," a condition drawn from Park Chan-wook's film and Eunjung Kim's ethics of "Unbecoming Human." What holds the exhibition together is not a shared formal language but something felt before it is understood — pseudo-fairytale dream states, mild malfunction, the quiet sufficiency of simply continuing. We notice it in the way works don't resolve, the way materials sit with their own contradictions, the way the space itself seems to breathe at a lower register. In contexts where divergent forms of being are so often framed as problems awaiting correction, the exhibition refuses the logic of repair. It does not ask its subjects to be optimized or returned to normalcy; it asks only that they persist. And slowly, without announcement, it asks the same of us.



Sometimes, my sense of the past does not return through any major event that clearly happened. More often, it arrives th...
06/04/2026

Sometimes, my sense of the past does not return through any major event that clearly happened. More often, it arrives through very small things: the faint smell of leftovers when opening the refrigerator late at night, the dusty scent lingering inside cardboard boxes after moving apartments, the sound of cheap plastic packaging being crumpled, the reflection of kitchen light on a table surface, or the traces of someone’s daily life that remain in a room after they have already left. None of these fragments form a complete memory. In many cases, they can no longer even be connected to a specific person or moment. Yet the body recognizes them before consciousness does. For a brief instant, a strange hesitation emerges, as if I have somehow experienced all of this before.

Link in bio to read more....

Jonathan Goodman: You were educated in design in Korea and in the history of design in New York. How has this experience...
06/02/2026

Jonathan Goodman: You were educated in design in Korea and in the history of design in New York. How has this experience shaped your artistic outlook? 

Sooa Lim: My education in Korea and in the United States shaped my thinking in ways that feel quite different, but ultimately connected. In Korea, my training in design was grounded in discipline and attention to form, with a strong emphasis on precision and material. That way of seeing still stays with me.

When I studied at Parsons, the focus shifted. I became more interested in context, history, and the frameworks that surround art. It changed how I think about curating. I no longer see artworks as isolated objects, but as part of a broader conversation that unfolds across different systems. 

JG: You are currently working at an auction house in Connecticut. What does your position require, and how does it influence your curatorial work? 

SL: Working as a Head Cataloguer has significantly shaped how I think about artworks beyond exhibition contexts. My work involves detailed research, provenance tracking, and writing catalogue entries that place each object within both historical and market frameworks. In many ways, it feels like reconstructing a story. 

In several cases, this kind of research has influenced how works are received. By clarifying attribution or expanding historical context, I’ve seen how a more precise narrative can increase both institutional interest and collector confidence. 

At the same time, working in the U.S. auction environment has made me more aware of how artworks circulate. They move through networks of collectors, transactions, and market dynamics. I don’t see this as separate from curating, but as an extension of it. 

Link in bio to read more...

FRAUKE SCHLITZ &LEONIE WEBERCollage/Constructionat the Kentler International Drawing Space curated by Dara Meyers-Kingsl...
05/23/2026

FRAUKE SCHLITZ &
LEONIE WEBER

Collage/Construction

at the Kentler International Drawing Space 
curated by Dara Meyers-Kingsley

​Two-person exhibitions are frequently built on contrast, deliberately framing artists as opposite voices in a shared conversation. In Collage/Construction at the Kentler International Drawing Space, curator Dara Meyers-Kingsley positions the work of artists Frauke Schlitz and Leonie Weber within these traditional binaries: internal cognition versus physical immediacy, and architectural abstraction versus material representation. Beyond these initial juxtapositions lies a shared engagement with materials that, while provisional or fragmented in origin, are selected and manipulated with intentionality, a way of addressing the anxieties and fractures of our current landscape.

Link in bio to read more...




Between the Breath of ObjectsOn the Impossibility ofStill Objectsby Yihan Yan, May 12, 2026CHINCHINART and Symora Art ar...
05/12/2026

Between the Breath of Objects
On the Impossibility of
Still Objects

by Yihan Yan, May 12, 2026

CHINCHINART and Symora Art are pleased to present Between the Breath of Objects, a group exhibition curated by Jinyi Freya Xu and Shuhan Zhang at Nguyen Wahed featuring Kyung Kim, Luping Wang, Silvia Muleo, Xuemeng Li, and Ziyi Zhang.
​

In Between the Breath of Objects, curated by Jinyi Freya Xu and Shuhan Zhang, “the object” is not redefined so much as destabilized. Rather than presenting objects as entities to be seen and identified, the exhibition places them within an ongoing condition, one that approximates a structure of “breathing.”

This “breath” is not a metaphor in any anthropomorphic sense, but a way of distributing time. Objects here do not hold stable form; instead, they are continually reorganized across light, interface, body, and material. Painting no longer functions as image but tends toward a diffuse, atmospheric extension; jewelry exceeds ornament, becoming an attachment to an extension of the body; digital images do not remain on screen, but are translated into surfaces with weight and tactility. Rather than forming discrete categories, these media enter into a slow but continuous field of relation.

Image: Installation view of Between the Breath of Objects. Photo by Echo Xu. Courtesy of the CHINCHINART and Symora Art.

Link in bio to read more....


The Thinning Veilby Simon Johns, May 11, 2026The Thinning Veil explores materiality, magnetism and the unseen geography ...
05/11/2026

The Thinning Veil

by Simon Johns, May 11, 2026

The Thinning Veil explores materiality, magnetism and the unseen geography of the Green Mountains. Outside of Burlington, the surrounding area appears frozen in time, expansive and mysterious. Vermont’s mountains and tranquil countryside prepares visitors for Kate Swanson’s curatorial approach that feels richly thematic at Nurture by Nature, her gallery situated in Burlington. Swanson leaned into the area’s mystique and folk lore when assembling the small group show that is fittingly, rooted in place, and is a great example that highly crafted design is being shown far beyond the usual major cities.



By

States of Becoming opens with Ursula von Rydingsvard’s Book with No Words (2017), a tome whose pages are thin slats of c...
05/08/2026

States of Becoming opens with Ursula von Rydingsvard’s Book with No Words (2017), a tome whose pages are thin slats of cedar adhered to swathes of linen.  While very book-like, it is a segmented and organic creature which lives and breathes through the wood grain but has a soft side emerging from the warp and weft of the textile; handling the object may leave the inattentive reader with splinters, it can clearly defend itself.  It also falls into the artistic genre of forbidden texts, like Anselm Kiefer’s lead books, or Siah Armajani’s crossed-out dictionary.  Poised at the start of a 20 year survey of Rydingsvard’s work, Book with no words succinctly encapsulates the earthy materiality of her sculpture and their transgressive and amorphous energy—a simultaneity of life and danger, as well as a subtext of the exhibition which is her work with paper (though ironically this book has no paper).



By

Aaron Cobbett at Kapow Gallery: link in bio to read more....Labor of LoveBy Ryan Castle, May 1, 2026Aaron Cobbett, Numb...
05/02/2026

Aaron Cobbett at Kapow Gallery: link in bio to read more....

Labor of Love

By Ryan Castle, May 1, 2026

Aaron Cobbett, Numbers (2019). Courtesy of the artist.

At first glance, Aaron Cobbett’s quilts quilts dazzle with excess. Rhinestones and sequins sparkle alongside scraps of denim, leather, and leopard print, creating rich and vibrant surfaces. The works are decorative and heavily textured, but underneath that camp spectacle lies a more deliberate insistence on labor. In Semi-Precious, Cobbett uses textiles to foreground time, touch, and survival, challenging long-standing hierarchies of value in contemporary art.

 

From his early work as a window dresser at Bergdorf Goodman to his immersion in the East Village drag scene of the 1980s, Cobbett’s practice draws on a wide range of references. These influences emerge not only in the theatricality of his works but also in their materials themselves. Fabric scraps and collected objects are layered and reworked into complex compositions that favor richness over simplicity. Rather than attempting to force textile work into the domain of fine art through restraint or minimalism, Cobbett leans into its associations with craft, emphasizing its tactile and intimate nature. This perspective aligns with a broader revival of textile practices and challenges the undervaluing of such forms.





“A drawing of two forks,” “A canvas that fits an amount of space,” “An arrangement of tiles on the ceiling,” “A shoe rac...
05/01/2026

“A drawing of two forks,” “A canvas that fits an amount of space,” “An arrangement of tiles on the ceiling,” “A shoe rack containing shoes,” the exhibition catalogue for April consists of a list that appears jarringly plain and thrillingly intriguing. The descriptions read less like informative labels than a deliberate gesture stripping the interpretive scaffolding that sets the foundation of the show. For this ten-day exhibition held at the basement of Nguyen Wahed Gallery organized by the UMARELL art collective, that compression of language is the fundamental method for both creation and reception. The indefinite article, a fork, a projection, a canvas, insists on a singularity of notice and an ordinariness of presence at once. The show rejects the grammar of significance before it reveals itself to the viewers.  

 

Upon entering the space, one had to lower their head and fold their torso. That physical concession was the first instruction of encounter, primal and candid. The absence of any single dominant work or orienting anchor organically diffuses hierarchy that can be common in gallery spaces. The result was an alternative liberation with attention dispersing freely: from a pair of red porcelain boots tucked in the corner (Devon Pin-yu Chen,) to a board of glass beads glued along the ceiling (Candela Baldo), to a picture of a mannequin bust affixed to the metal door (Ke Zhang). The arrangements were not curatorial harshness but a theoretical refusal that traded the authority of any focal piece for something less swayed by pressure of documentation and thus, restless and visceral.
art

Chris Rucker's standards and one offs, installed at LOT-EK's Yellow Wall, never fully settled into the stable condition ...
05/01/2026

Chris Rucker's standards and one offs, installed at LOT-EK's Yellow Wall, never fully settled into the stable condition of the exhibition. That instability is both the show's subject and its strength. In a more neutral gallery, these chairs, quilts, scraps, and archival images might have read as a familiar language of salvage: worn materials redeemed by taste, old surfaces granted a second life through display. At LOT-EK, they remain more unsettled than that. They do not arrive as relics, and they do not quite become sculptures. Instead, they hover in a productive state of suspension—between furnishing and artwork, between protection and use, between the afterlife of objects and their continued service.

​

That suspension begins with the setting itself. LOT-EK is not a conventional gallery but an architecture office with a storefront exhibition space, and that context sharpens the work at every turn. The Yellow Wall could easily have turned the show into a graphic exercise, a bright backdrop for rough-hewn design objects. Instead, it performs a subtler task. The deep yellow presses forward while the faded textiles seem at first to recede, only to insist more strongly on their own presence. Their washed grays, weak pinks, and abraded whites look more vulnerable against that intense field, but also more exact. The installation does not sentimentalize wear; it gives wear sharper edges.


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