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…
“Name What is Unnamed”: Geocinema on Diarying the War in Ukraine
The Making of Earths is a solo presentation by the research-based filmmaking collective Geocinema (Asia Bazdyrieva and Solveig Suess), presented at the Dr. Éva…
Ben Davis
In the introduction to Ben Davis’s new book, a bracing and perspectival collection of essays titled Art in the After-Culture (Haymarket Books), he reflects…
Rearrange: Torkwase Dyson and Black Feminist Breathing
Spending time in a museum after it closes to the public holds a certain wonder. There is something invigorating about turning up where you…
The Final Fart: A Meditation on Hannah Wilke’s Last Work
Hannah Wilke knew what a death mask was. She knew that a death mask is an event, not an object. She knew that the…
Against Nations
At the 59th Venice Biennale, many of the stand-out pavilions were those that contested the pavilion structure itself. Consider Roma artist Małgorzata Mirga-Tas’s lustrous…
Akram Zaatari: Dance to the End of Love
Dance to the End of Love is a four-channel polyphonic, visual fantasia composed of found YouTube footage of young men in the MENA region….
Wayne Salmon’s Portraits of Black Belonging in Kensington Market
In Kensington Market: Meditations on Home, photographer Wayne Salmon continues his decades-long rumination on the beauty of Black life within the wake of slavery….
Arushi Vats
“We are post-purity,” observes Arushi Vats, a Delhi-based writer and inaugural fellow of the Momus/Eyebeam Critical Writing Fellowship. Rooted in field research and expanded…