Web 2023
Interview with Kim Stanley Robinson
Robin Levy: A Space of Solidarity
Erasing Pronouns: Beatriz Santiago Muñoz’s Ottilia
The Story of Art Without Men By Katy Hessel
Marking Time: Willie Birch’s The Roofers
Radical Radixes—On Lili Dujourie’s Mimesis
The work consists of an upright, kinked, and broken cylinder, from the base of which protrude zigzagging, forked rods; the whole evokes a barren tree trunk, its roots growing down the sides of its plinth, clinging to it. Two of the roots reach the pavement and one touches the steps, mimicking the way that some trees survive on rocks or walls by rooting around them.
Clouds, Power, and Ornament: Roving Central Asia
Cameron Downey: Lord Split Me Open
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.