Briefly Witnessing the Impossible. A Conversation with Megan Mi-Ai Lee
To what extent are we willing to be fooled? Megan Mi-Ai Lee’s practice probes the affective pull that keeps us…
To what extent are we willing to be fooled? Megan Mi-Ai Lee’s practice probes the affective pull that keeps us…
Olivia van Kuiken once said: “A painting is incapable of telling time. It’s a static image.”[1] That line keeps tolling…
Did it matter then, she asked herself, walking toward Bond Street, did it matter that she must inevitably cease completely?…
Much recent critical theory has been concerned with the following proposition: that although the triumph of reason claims to have…
Ruoru Mou’s practice folds together industry, ownership, and inheritance. Working across sculpture and installation, she manipulates factory debris and fragments…
It feels appropriate to approach Tasneem Sarkez’s work through the seed of language. The word, as a manifold concept, laces…
How do you put a finger on Lutz Bacher? Contemplating this, I walked toward Astrup Fearnley through a pocket of…
“Intimacy builds worlds; it creates spaces and usurps places meant for other kinds of relation,” wrote the late theorist Lauren…
On Monday, October 13, 2025, just a few days after I visited Basel Abbas and Ruanne Abou-Rahme’s multimedia installation Prisoners…
alfatih doesn’t really do interviews. So, our conversation happened as it could. Talking to alfatih these days means organizing a…
Eleanor Antin’s Blood of a Poet Box (1965–68) assembles, quite literally, the blood of a hundred poets: samples on glass…
To speak of vulnerability as soft power is to encounter its double. Hidden agency, bare desire, and quiet possession take…