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…
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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…
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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…
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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…
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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…
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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…
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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…
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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…
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“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…
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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…
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