Interviews
Indicting the Poisonous Imaginary—Radha D’Souza and Jonas Staal
In 2021 D’Souza and Staal came together to stage the Court for Intergenerational Climate Crimes (CICC) at Framer Framed in Amsterdam. Described as “a more-than-human tribunal to prosecute intergenerational climate crimes” committed by Unilever, ING, Airbus, and the Dutch state, the court drew from D’Souza’s book What’s Wrong With Rights? Social Movements, Law and Liberal Imaginations.
Greg Ito: Looking Back to Let Go
This is probably the most personal show I’ve made. I want people to know that the work is connected to these real experiences, so there’s pretty intimate stuff that’s only been seen within our family circle .… I had to ask my mom if it was okay to share these photographs. Since we weren’t able to get permission from relatives who have passed to share these things, all the faces are going to be covered with small white stickers. That way we can keep our family identities private and off the internet. These stickers also create a pathway for viewers to insert themselves into [my family’s] experience.
Pearl Cleage: Fragile Bodies on a Fragile Planet
The thing that strikes me more and more as I get older is how we spend so much time and energy and bluster building cities, having wars, dominating and insulting each other, when all the time, we are living inside these fragile bodies that have to exist on a fragile planet in the company of other fragile beings and unknown viruses.
Curtis Patterson: A Monument Maker Gets His Due
Melissa Messina, the show’s curator, speaks with Patterson about teaching, monuments to civil rights leaders, and his current studio practice, on the occasion of the artist’s first commercial gallery exhibition.
Itziar Barrio: Stella!—working on, and through You Weren’t Familiar but You Weren’t Afraid
You Weren’t Familiar but You Weren’t Afraid was filmed in multiple cities and makes overt narrative references to three films: A Streetcar Named Desire (1951), La estrategia del caracol (The Strategy of the Snail) (1993) and Accattone (1961).
Ge Yulu: Cutting In—Dances with the State and the Collective
Ge Yulu’s artistic practice playfully pulls at the strings of a social system that, although seemingly all-encompassing, is in fact a malleable structure consisting of individual human beings.
Doireann O’Malley: Floating Worlds Apart
Lydia Horne interviews Doireann O’Malley about getting lost, the building of virtual spaces, and presenting us with a post-human reality in their recent work, New Maps of Hyperspace_Test_01.
Hew Locke: A World Before the World We Know
Cosmo Whyte speaks with Hew Locke about how Locke’s work delves into deep histories of migration and colonialism.
Katherine Jentleson: Whose History of American Art?
Katherine Jentleson and Logan Lockner reflect on the creation of two concurrent exhibitions at the High Museum of Art—”Really Free: The Radical Art of Nellie Mae Rowe and “Gatecrashers: The Rise of the Self-Taught Artist in America.”
Angela Ziqi Zhang and Maggie Crowley: Flash, Bang, Fizz
In the summer of 2021, two solo exhibitions in Chicago, one by Maggie Crowley and another by Angela Ziqi Zhang, echoed one another in many ways: connected by the dotted lines of the artists’ friendship and shared history, the presentations revealed common concerns—around value and experience, affect and attention—that play out in both of their practices through distinct visual and material registers.