In Matthew Barney’s comeback at the Hayward in London, self-mythologising has given way to a dark and icy world where environmental violence prevails.
Eliyah Mesayer’s state for the stateless is not rooted in a specific place or geographic site, but in human encounters and alchemical connections.
Eva-Lisa Bengtson could never fully live as the person she really was. But she paved the way for an entire movement and left a unique archive of Swedish trans history.
Theorist McKenzie Wark thinks we misunderstood the utopian.
Thinking with Simone Weil and Thomas Hirschhorn, precariousness and fragmentation emerge as forces that reshape ideas of power, monuments, and art’s role in our troubled present.
High resolution images don’t make us more perceptive. Quite the contrary.
Momentum’s director, Dag Aak Sveinar, responds to allegations of sabotage put forth in an open letter from dismissed curator Théo-Mario Coppola.
The Momentum Biennial opens this weekend against the will of its curator, Théo-Mario Coppola, who was recently fired.
In the future, the authority of museums will rest on their ability to explain why they have doubts. The discussion surrounding Kirchner and Nolde at the National Gallery of Denmark demonstrates why.
In Lytle Shaw’s New Grounds for Dutch Landscape the materialist turn is transformed into an art historical account of everyday ongoingness and the ground beneath our feet.
The waves in Kinga Bartis’s painting Egg timer do not move in vain.
Some of the webs found in Charlotte Johannesson’s artistic practice and why spinning and weaving the past into the future is so important.
To put it wittily: the romantic in me has never seen a more realistic vision of Rondane than Harald Sohlberg’s.
Eddie Figge’s paintings from the 1989 São Paulo Biennale should be shown in schools as proof that our planet has had visitors from a distant civilisation.
Some words around what it meant when Cecilia Bjartmar Hylta abstracted the act of masturbation into a large vibrating dildo wall. Or, why we feel sick making art.
In Good Speaker, Elise Macmillan reconstructs from memory a radio commercial she heard during her early youth.