Rediscovering a “maverick” female artist from the ’70s
The Carnegie International 57th Edition recalls past works and embraces new artists.
Cauleen Smith tangles the past with figures from African American histories, Afrofuturism, Radical Jazz, and alternative futures.
The New York-based artist discusses collaboration, deskilling, and life after the end of the world.
A bilingual excerpt from the Russian graphic journalist’s forthcoming memoir on her hometown of Serpukhov (translated by Bela Shayevich), exploring post-Soviet space and the closure of the village’s state printing press
In 2010, Mexican artist Alejandro Luperca Morales began rubber-erasing human remains out of the frequent crime-scene reports published by P.M., his local Juarez newspaper. Often behind police barricade tape, these ghostly voids resemble eddies of dust, bald patches of earth, or gauzy shrouds illuminated from within. Over the past eight years, Morales has collected a significant archive, performing this gesture on more than 500 images.
Sisters Lydela and Michel Nonó conduct performative interventions at their art space/home in Puerto Rico, using improvisation to process family memories and trace the wounds of colonialism.
Reassembled fragments of texts and vocalizations invite audiences into the immersive installations of these two artists.
Fashioning ersatz artifacts and museological displays, two artists dispense with individual authorship to inhabit the “speculative nature of history” with an eye on the future.
Sculptures that depict the body’s predicament.
The art and politics of Korean skin care.
Historical currents reveal cultural trauma and methods of recuperation.
An art exhibition inspired by a novel.
A multi-screen installation investigates the nature of truth and information.
Space shapes bodies; bodies shape space.
What role does technology play in helping or hindering our wellbeing?
How do you discuss misogyny in a society saturated with it?