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Abjection

Leaking Gestures: An Interview with Dafna Maimon

by Alison Hugill // Apr. 17, 2026

Sun pours into Dafna Maimon’s Kreuzberg studio on a spring day in March, as we greet each other and prepare for our conversation about the role of the abject in her practice, which encompasses…[read on]

Mediated Skins: Marianna Uutinen at HUA International

by Lars Holdgate // Apr. 7, 2026

At Hua International, works by Marianna Uutinen, made 30 years apart, manifest and indulge in many things, of which the body is one. Though the artist herself would not necessarily use the term abject…[read on]

Between Subject and Object: An Interview with Jagoda Bednarsky

by Gillian N. Osborne // Mar. 27, 2026

Jagoda Bednarsky is known for her large-scale paintings of other-worldly, dreamy landscapes, where body parts merge with nature. Breast mountains, cockerel flowers, personified moons, flora and fauna coalesce …[read on]

Amateur Traumatics: An Interview with William Joys

a close up of the performers' feet in slippers made from a welcome mat, with beads hanging down to their knees

by William Kherbek // Mar. 17, 2026

Abjection and power go together like Deleuze and Guattari, but it’s not always clear which one is in charge. Power dynamics lie at the heart of human relationships, but they’re often invisiblized…[read on]

Confronting Incoherence: ‘The Double’ at GHMP Zvon

a black and white double exposure photograph of a woman with multiple facial features and a strange animal in her hand

by Carolina Sculti // Mar. 10, 2026

Abjection often conjures images of horror—filth, ugliness, death—in their most visceral, corporeal form. Yet what we tend to neglect are abject forms of the mind…[read on]

Letter from the Editor: Abjection

by Alison Hugill // Mar. 6, 2026

French feminist philosopher Julia Kristeva opens her 1980 essay on abjection, entitled ‘Powers of Horrors,’ as follows: “There looms, within abjection, one of those violent, dark revolts of being…[read on]