Web 2023
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.
Stephanie Dinkins: Building Something Now
Postnational Hybridity and Our Uncertain Future
stones make birds make stones
Singapore Biennale: Natasha
Make Me Feel Mighty Real: Drag/Tech and the Queer Avatar
The Eyes Were Always on Us
Reckless Rolodex
Symbionts: Contemporary Artists and the Biosphere
Each collaborative entity mobilizes its own kind of micro-performance, but together they maintain a coherence through the way we simultaneously apprehend them in the sensorium. As such, the materials feel less instrumentalized by aesthetics and more mysterious.
Leah Clements—INSOMNIA
Providing access to the exhibition for blind and partially sighted people, this audio description acts as a way in for all audiences. Excitingly, here, through this interpretive sonic contribution, the visual aid becomes an affective feature rather than simply a functional element. It affects pace, the order of encounter, and the awareness of oneself in the environment, embedding us within it. It asks us to pay attention, to be indulgent with our time, and in so doing, to allow details and sensations to emerge.