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The Fruit Feeder can be viewed as a kind of durational performance art. Its participants may be unaware of their roles, but they perform their daily dramas nevertheless. Fights between peckish birds over the best bit of mango or the prime perch on a branch often rattle the otherwise tranquil setting. The overwhelming growth and decay of the surrounding forest and the exhausting, relentless tussle between life and death infuse the scene with a kind of madness

Whereas fossil fuel exploration happens on a global scale, Al Qadiri zeroes in on extraction and refinement, which are much more visible at ground level in certain regions of the world. This exhibition drew a nuanced connection between the Persian Gulf region and the Texas Gulf Coast (although not noted in the exhibition information, the processing infrastructure of the latter region certainly extends into southern Louisiana).

Each collaborative entity mobilizes its own kind of micro-performance, but together they maintain a coherence through the way we simultaneously apprehend them in the sensorium. As such, the materials feel less instrumentalized by aesthetics and more mysterious.

Hito Steyerl is one of the most important artists of her generation, a landmark thinker of the image and its status under late capitalist accelerationism. Yet her recent retrospective at the Stedelijk Museum, I Will Survive, was marked by a semiotic complexity that did not coincide with what had been happening to the body in the past two years—my body, but also the body in a broader philosophical sense.

An exhibition at Tallinn Art Hall houses a number of artists curated by Corina L. Apostol that explore various aspects of socially engaged artworks.

Instead of pigments on canvas, the computer manipulates pixels in a monitor where the visible world is reduced to infinitely shifting variations on the screen.

Letter from the Editor

Our alternatives have changed.

Martin G. Fuller is “kind of friendly with” the ART PAPERS editorial team.

A Close Reading of the Good Ol’ Ordinary

On fear, inhibition, and “freedom.”