Feature
Gone But Not Disrespected
On the last Sunday in June 2022, a particularly hot day in Philadelphia, about 100 of us gathered in front of Saint Luke’s landing for the culmination of an experimental AIDS memorial called Gone and for Ever, a community-informed spectacle of sight, sound, and grief—part of Remembrance, a project of the William Way LGBT Community Center and funded by the Pew Center for Arts & Heritage—to grapple with the question of how to memorialize amid the ongoing crisis.
Office Landscaping—A Genealogy of Corporate Critique
Ultimately, corporate critique has a genealogy, one that is cyclical and resilient, and that allows artists to engage aesthetics of control, desire, and regulation which corporate capitalist structures aim to produce.
Roberto Visani and The Promise
Living Worth Repeating—
On the Xenogenesis of the Otolith Group
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.