Art history likes clairvoyants. Divine as a tea leaf, the Brazilian Lygia Clark heralded not one, but three casualties of the field: the death of painting, the death of the author…[read on]
“How can we, as workers of the imaginary, recognize the significance and poetics of being when all manners of racism, war, and patriarchal violence redirect the gaze…[read on]
On a small, princess-pink television on the fifth floor of the WIELS Contemporary Art Centre in Brussels, an animated bear smokes a blunt as a spectral voice recounts a run-in…[read on]
At MGGU in Frankfurt, the group exhibition ‘Fixing Futures. Planetary Futures between Speculation and Control’ gathers clashing, converging and contesting visions of tomorrow…[read on]
The history of Bärenzwinger Berlin is unique. The space opened as a bear enclosure in August 1939, housing Urs, Vreni, Lotte and Jule, who were all gifts from the city of Bern…[read on]
A technology-forward intervention in the Centre Mercure of Esch-sur-Alzette, most of the works of ‘Hybrid Futures’ treat their digital media as a prosthetic for speculating…[read on]
In 2017, the government of New Zealand Aotearoa granted personhood to the Whanganui River, legislation that “combined Western legal precedent with Māori…[read on]
‘Grace of Desire’ is a rich visual survey aimed at highlighting works of queer women from the surrealist and avant-garde movements of the early 20th century to the present day…[read on]
