Oslo: Holding Ground
The entrance to Oslo’s newly rebuilt government quarter opens onto a wide public square. Part of it is an eight-hundred-square-meter…
356 FALL 2026
Like a River Runs. Armineh Negahdari
Paper occupies a peculiar place in the history of art. It is among the most fragile supports, yet also one…
Miriam Cahn “Ciò che mi guarda” MACRO – Museum of Contemporary Art of Rome
A visit to Miriam Cahn’s retrospective at MACRO in Rome, an exhibition that brings together more than 130 works across…
Frida Orupabo “Cloud of Confusion” MAC/CCB – Museu de Arte Contemporânea e Centro de Arquitetura, Lisbon
There seems to be no harmless way of looking at another body. Looking always implies framing and interpreting from a…
Life = Porridge. Tolia Astakhishvili
Out of all the possible details – and there are many – that make up Tolia Astakhishvili’s sprawling borderless oeuvre,…
“After Steps Through Work. Fendi / Karl Lagerfeld 1985” GNAMC – Galleria Nazionale d'Arte Moderna e Contemporanea, Rome
When I walked into the exhibition, after passing through the Pino Pascali room at GNAMC – Galleria Nazionale d’Arte Moderna…
Consider the Sauce Art. In Conversation with Ewa Poniatowska
A few years ago, I stayed in Ewa Poniatowska’s bedroom in Stoke Newington. If London is like a polluted river,…
Shirana Shahbazi, “All at Once. An Interplay with Li Tavor” Kunstmuseum Luzern
In Shirana Shahbazi’s show, “All at Once. An Interplay with Li Tavor” (2026) at the Kunstmuseum Luzern, her 16mm film…
The Persistent Present. Yalda Afsah
The history of cinema is, as Mary Ann Doane meticulously outlines in her book The Emergence of Cinematic Time[1] (2002),…
Familiar Grounds. Mimmo Haraditiohadi
Mimmo Haraditiohadi has a collection of small wooden toy houses, simple block-like forms with hand-drawn windows and doors, their roofs…
Territories. Vladislav Markov
It takes at least three people to make a society. Three, then, are also enough to make a secession. The…
Felix Gonzalez-Torres “Sweet Revenge” Museo Reina Sofía/ Madrid
Seamus Heaney begins his “Elegy (For Robert Lowell)” (1977) [1] with an observation that seems pretty self-evident: “The way we’re…
Everything it is it has*. Thea Djordjadze
*A line from Anne Carson’s poem “The Glass Essay,”in which the Canadian poet and essayist moves through the psychologically resonant…
Nina Porter “Sample Question” Kunstverein in Hamburg
Little pools of ash, left behind by compressed ash blocks, gather on cardboard surfaces spread across the floor. Surrounded by…
Can’t Get You Out of My Head. In Conversation with Thomas Ruff
Thomas Ruff is already on holiday on an island off Italy’s coast when I interview him. When he picks up…
“Call Me Gravity” WIELS / Brussels
I’m afraid to admit the exact amount of debt I’m in. Walking into the exhibition “Call me gravity” at WIELS in Brussels, I half-expected to find myself…