All Positions Possible: Simone Forti Across Time, Through Community
An eight-foot wooden ramp was propped up at a forty-five-degree angle in one corner. Knotted ropes hung from six holes drilled near the ramp’s…
Mia Sandhu Holds the Gaze Hostage
Seeing You, Seeing Me, Seeing You, as a title, is a bit misleading. At first blush, you couldn’t tell whether the figures in Mia…
Portrait of the Artist as a Young Thief
If they were lucky, novels about artists published in the past year got to ride the wave of a literary trend termed “Künstlermania.” The…
Jessica Lynne and Kemi Adeyemi
The finale of Season 5 features a conversation between writer, art critic, and co-founder of ARTS.BLACK, Jessica Lynne, and Dr. Kemi Adeyemi about her new…
“We’re All Tied to the Place That We’re From”: Celebrating 50 Years with Equinox Gallery
When Equinox Gallery—one of Canada’s best-established galleries, and a longstanding benchmark of Vancouver’s art scene—announced its 50th anniversary, earlier this year, I did a…
Common Boundaries and Refused Exits: Aman Sandhu and Andrew Black
A double-sided screen hung in the middle of Centre Clark’s main gallery, suspending two landscapes like a portal. On one side was Aman Sandhu’s…
Reviewing the Reviews: Documenta 15
The coverage and criticism of Documenta 15 was an experience in itself, whether or not you made it to Kassel this year. This edition…
Cecilia Alemani
For the penultimate episode of Season 5, Sky Goodden interviews Cecilia Alemani, the Artistic Director of the 59th Venice Biennale. After three years of…
The Remains of the Day: Nadia Belerique in Glasgow
In between visits to Nadia Belerique’s exhibition, SLICE, at David Dale Gallery in Glasgow, I’d been engaged in moving flats for the first time…
Duplicity and Diptychs: The Maraya Project’s Twinned Visions of Complicity
The similarities between the seawall in Vancouver and the seawall in Dubai are eerie. You might not think to compare them unless you have…
A Distance That I Cannot Seem to Close
My quiet mother, my Umma, used to write me letters, then regarding them, say, “I don’t speak well but I can write better. Without…
Preoccupied with Things Left Behind: On Three Nigerian Artists
There are three Nigerian artists you must know who are preoccupied with things left behind. There’s Kelani Abass, based in an enclave between Lagos…
On the Fear “That There Wouldn’t be Another Project”: A Conversation with Lisa Hsiao Chen
As soon as I heard about Lisa Hsiao Chen’s novel Activities of Daily Living, I wanted something from it. I had been searching Publishers…
Meeka Walsh
On the occasion of her first book of collected art writings, Malleable Forms (ARP Books), Meeka Walsh, editor of Border Crossings magazine, speaks to…
How Does a Collective End? An Interview with Robert Gabris and Ľuboš Kotlár
It is the middle of the summer in Prague and the art nouveau Šaloun Villa’s glass ceiling and glass wall recalls a greenhouse. The…
Relocating Trauma at the Venice Biennale
During my visit to the 59th Venice Biennale, I found myself in the Venetian ghetto twice. The first was to celebrate Shabbat with an…