Web 2023
Clouds, Power, and Ornament: Roving Central Asia
Clouds, Power, and Ornament: Roving Central Asia is organized in two parts, starting with Clouds and Power, curated by Slavs...
Cameron Downey: Lord Split Me Open
Lord Split Me Open is Cameron Downey’s first major solo exhibition. The show comes on the heels of other recent...
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
In a recent conversation, a colleague made the claim that the math supporting the technology under discussion was not cultural....
Postnational Hybridity and Our Uncertain Future
Twenty years after Nigerian-born curator Okwui Enwezor introduced a non-Western curatorial model to documenta 11, we can witness the impact...
stones make birds make stones
Kite, INYAN/ZINTKALA/INYAN KAGAPI (STONES MAKE BIRDS MAKE STONES), 2021 Created in response to Martha Tuttle’s installation, A stone that thinks...
Singapore Biennale: Natasha
Naming a biennale after a random, anonymous person felt like a gamble, and from the mutterings I heard on the...
Make Me Feel Mighty Real: Drag/Tech and the Queer Avatar
Tay was born a teenage girl chatbot on March 23, 2016. Her parents, a crew of Microsoft employees, designed her as...
The Eyes Were Always on Us
The Eyes Were Always on Us opened March 23 at the United Talent Agency’s new Atlanta gallery on Peachtree Street—a...
Reckless Rolodex
The January 17, 1997 episode of This American Life—hosted by Ira Glass, on the Chicago-based NPR-affiliate radio station WBEZ—featured “stories...