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Some Questions Surrounding Robots and Rivers
Media artist and theorist Mark Amerika engaged in a conversation with GPT-2 (generative pre-trained transformer)—an open-source language model released in...
Postnational Hybridity and Our Uncertain Future
Twenty years after Nigerian-born curator Okwui Enwezor introduced a non-Western curatorial model to documenta 11, we can witness the impact...
Singapore Biennale: Natasha
Naming a biennale after a random, anonymous person felt like a gamble, and from the mutterings I heard on the...
Jamal Cyrus: The End of My Beginning
Jamal Cyrus’ The End of My Beginning is a survey exhibition that includes more than 40 works made over a...
Morehshin Allahyari: A Jinn Rather than a Cyborg
An oddity of much recent algorithmically generated art is that, while it traffics in the rhetoric of hyper-novelty, it often...
It Shall Not Be Named – Carlos Motta: Your Monsters, Our Idols
The exhibition Your Monsters, Our Idols—with video, sculpture, photography, and installation works by Carlos Motta, and curated by Lucy Zimmerman—is...
Passenger—Migration Patterns on the Living and Those of the Dead
Millions of dead birds follow such new migratory paths, which draw capital from the south and the east into the north and the west. Often, these paths consolidate, convene in the centers of the colonizing empires—London and Paris—for a few years, or decades, before moving on to museums in the new world. These routes are not the birds’ natural flyways. They are new paths toward a capitalist archive that usurps purpose from the world it exploits.
The Mountain in the Sea by Ray Nayler
As naturalist Sy Montgomery writes in her nonfiction book The Soul of an Octopus, “To many people, an octopus is...
Korakrit Arunanondchai and Alex Gvojic: PRAY
Beyond a subtly marked door on Canal Street in Lower Manhattan, Korakrit Arunanondchai and Alex Gvojic have created something akin...