"Right: to Write ________" Toward a Democalligraphic U-topia. Huang Jing Yuan
If writing is the mother of the comatose archive, I wonder if exhibiting could be the rehearsal hall for a…
Features
Future Perfect Visitors. ABBA at the End of the Modernist Paradigm
In 1972 the Pruitt–Igoe housing estate was blasted into rubble in St. Louis, Missouri. Also in 1972 the Swedish pop…
The Process Behind Joan Jonas' New Oceanic Work
During the making of her exhibition “Moving Off the Land II,” currently on view at Ocean Space in Venice, Joan…
Dora Budor. On Being a “Deviation Amplifying” System
Questioning perception and experience, the Croatian-born, New York-based artist Dora Budor highlights the urgency of building new relationships between appearance…
Making it Together Laure Prouvost's Eathbound Commons
The first experience of Laure Prouvost’s work can be unforgettable. For me it was marked by her voice, heard shouting…
Not an Additional Substance but the Body Feeling Itself: An Interview with Ghislaine Leung
Once a caesura is opened, it never really closes. In the practice of Ghislaine Leung (b. 1980, Sweden), these disruptions…
Yto Barrada's Grammars of Resistance
Moroccan-French artist Yto Barrada knits together family histories and broader sociopolitical narratives through works that employ photography, film, installation, sculpture,…
Sex and the Panopticon A conversation between Shu Lea Cheang and Paul B. Preciado
Shu Lea Cheang has lived a number of different lives: as a queer media activist, a cyberpunk filmmaker, and an…
All in all is all we are
In his extensively discussed essay “Of Other Spaces,” Michael Foucault suggests that the present epoch is above all the “epoch…
Simone Fattal. In the Light and the Darkness of the Self and the Other
We’re going to the window to look outside. That’s always more fun than learning to read on lips things that,…
Artificial Centuries: Hate and the City in Gary Indiana’s Criticism
The shuttering of the Village Voice in August was met with solemn tributes, honorifics like storied and iconic universally conferred…
No Time or Nothing Less Than Time: Rosalind Nashashibi’s Recent Continuums of Kinship and Displacement
“A screen is fundamentally an architecture of psychic transfer and tracing. It is also a space haunted by the maternal.” —…
The Language of Mud: On Tamara Henderson’s “Womb Life”
At the Centre d’Art Contemporain in Geneva, Tamara Henderson’s kinetic sculptures Sun Spider, Nomad, Sound Shepherd, Language of Mud, and…
Art and the Idea of Black Film: A Conversation
This past fall, the Fondazione Prada in Milan hosted “The Black Image Corporation” (September 20, 2018–January 14, 2019), conceived by…
Tiana Reid on Landscape and the Figural in the Sculptures of Tau Lewis
If you Google image “figural,” you’ll see thousands of images of Disney keyring dolls, mostly made of foam. Since abandoning…
Where Art Can Work: Interview with Tania Bruguera
Cuban artist Tania Bruguera’s installation “10,142,926” takes over Tate Modern’s Turbine Hall this fall with a series of works and…