Feature
Refusing the Here—Now: An Afrofuturist Period Room and Black Fugitivity in the Undercommons
By mixing the historical and the contemporary, the analogue and the digital, the obsolete and the futuristic, the concrete and the speculative, the installation proposes a malleable reality, an undercommons existing not in the here-now but for, and toward, the future.
Broken Hum(or)
Dinah Ryan explores the functions and possibilities of humor and its intersections with power, pain, vulnerability, and humanity.
Insurrectional Evolution: The Cronenbergian Revisited
Film critic Nathan Lee explores the insurrectional body in David Cronenberg’s “Crimes of the Future” and asks “What do we mean when we speak of the ‘Cronenbergian’?”
For the Reasons of Poetry: Arting in Space
FROM THE ARCHIVES: Robert Horvitz explores NASA’s Get-Away Special program, and how artists such as Lowry Burgess and Joseph McShane used the program for early experiments with artworks in space.
We Meet in a Patchwork: Landscapes and Elsewheres
In the following collaborative text, Makshya Tolbert and DJ Hellerman weave a patchwork of shared curiosity and mutual enchantment while physically re/situating themselves within the American Southeast. At the Virginia Museum of Fine Arts exhibition The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse, Tolbert and Hellerman’s bodies and spirits converge, diverge, expand.
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.
What do we want from each other after we have told our stories
Jemma Desai’s essay “What do we want from each other after we have told our stories,” whispers abolition and points to the question: What if we say no?
Consider the Hot Dog: Ivy Haldeman on an American Icon
Haldeman’s paintings capture the way quotidian images inform how we fashion ourselves, how we move about the world. They ask, “How do we wear ourselves into becoming ourselves? And what do things, such as inanimate objects and advertisements, demand from us?
Against Confinement—On Mohamed Bourouissa’s Frames of Relation
In this expansive appraisal of the artist’s work, Bailey makes a case for the emancipatory power of images.
Berenice Olmedo—Radical Alterity and the Crip/Disabled Subject
Utilizing sculptural, performance, and social practice modes, Olmedo’s work circumvents the representational trap that is part and parcel of a reduced, oppositional framing of normative and non-normative, or able and disabled.