Stephanie Bailey
Of Oysters, Roaches, and New Pessimism in Hong Kong
It’s all very Videodrome. That body horror manifests in phone-breath-bed 3 (2023), a sculpture presented in its own small room. A silicone face emerges out of a Perspex panel, where, lower down, a silicone slab forms a womblike concave depression. The panel hovers over the form of a hospital bed with the support of gray plastic piping, whose mattress is a screen-skin painting with creased dermal folds framing silicone protrusions that swell from the flatness.
Clouds, Power, and Ornament: Roving Central Asia
The 16th Lyon Biennale: manifesto of fragility
Moments like these, where the show drilled down on its complex resistance to heteronormativity (and thus paternalism), heightened the breakdown at Usines Fagor, with its abundance of large-scale installations that, while meaningful—as with Dana Awartani’s Standing by the Ruins of Aleppo (2021), a clay brick reproduction of the courtyard floor in Aleppo’s Grand Mosque—hinted at a curatorial anxiety to fill the site’s cavernous spaces.
Singapore Biennale: Natasha
12th Berlin Biennale: Still Present!
Living Worth Repeating—
On the Xenogenesis of the Otolith Group
What Makes Another World Possible?
An exhibition at Tallinn Art Hall houses a number of artists curated by Corina L. Apostol that explore various aspects of socially engaged artworks.
War Inna Babylon: The Community’s Struggle for Justice Truths and Rights
War Inna Babylon is not an exhibition; it is an everyday lived reality. Although we’ve exhibited some of the experience, I want people to feel it, feel like they have to do something, and [then] ask what we do next. To understand that you can’t sit on the fence, because if you do, you are supporting the status quo.
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.