e-flux @e_flux
e-flux is an international art network reaching more than 100,000 visual arts professionals e-flux.com New York Joined December 2008-
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REVIEW: Fashion designer Grace Wales Bonner’s contribution to the “artist’s choice” series of exhibitions at MoMA foregrounds music and rhythm in its selection of works from the collection, writes Osman Can Yerebakan. e-flux.com/criticism/6050…
REVIEW: Raven Chacon’s resonant solo show sees the composer and sound artist draw convincing parallels between the constraints of western musical notation and the violence of colonial extractivism, finds Rômulo Moraes. e-flux.com/criticism/6047…
A survey of Gervane de Paula’s work traces an arc from celebrations of everyday Brazilian life to powerful critiques of racism and environmental crime, finds @olibasciano. e-flux.com/criticism/6042…
A new show examining the formal impact of artists’ employment on their practices suggests how class inequalities might be creatively reimagined, writes Tausif Noor. e-flux.com/criticism/6026…
“Foreigners Everywhere,” the international exhibition at this year’s Venice Biennale, too often fails to meet the promise of its title to unsettle or estrange the viewer, writes Ben Eastham. #VeniceBiennale e-flux.com/criticism/6037…
REVIEW: Joan Jonas’s drawings of all kinds of living creatures anchor her multifaceted practice and, Filipa Ramos notes, reflect the curiosity the artist has about the animals in her life and work. @drawingcenter e-flux.com/criticism/6018…
REVIEW: A survey of Emanuel Proweller’s paintings suggests to Ren Ebel that this striking body of work—balancing figuration, abstraction, and bold use of color—deserves wider recognition. e-flux.com/criticism/6018…
We are thrilled to present The Venice 2024 e-flux map, your essential guide to the much-anticipated 60th Venice Biennale. Learn more: e-flux.com/announcements/… #venicebiennale @la_Biennale
The drawings and leather-bound lawn chairs in Eva Gold’s first US solo exhibition, finds Jenny Wu @safflower_lady, offer fittingly understated commentaries on the hidden workings of power and privilege. e-flux.com/criticism/6004…
A new biography of Candy Darling illuminates the life of the superstar of Warhol's films, writes @mckenziewark, who attempted the impossible: to embody classic American femininity within the frame of the cis gaze. e-flux.com/criticism/6003…
Join us on Thursday, April 11, at 7pm for the launch of e-flux journal #144 (April 2024). The issue looks at music’s relationship to words, memories, poetry, and voice. e-flux.com/events/598514/…
EDITORS’ LETTER: Is it true that—in a censorious culture—only those are free to speak whose values align with their surrounding consensus? And if so, how might artists continue to express real dissent? e-flux.com/criticism/6000…
REVIEW: Issam Kourbaj’s "impulse to catalogue” as a response to the ongoing civil war in Syria has led him to connect different experiences of exile through what Tom Denman describes as "small boats and other metaphors." e-flux.com/criticism/5988…
Gaby Cepeda wonders whether a group show of young Mexican artists influenced by the technological transformations of the nineties might have reflected more on the cultural, educational, and social contexts from which their work emerged. e-flux.com/criticism/5956…
April 2024 edition of our monthly series Staff Picks is available to watch on e-flux Film! Cecilia Vicuña’s What is Poetry to You? (1980, 23 minutes) e-flux.com/film/598557/wh…
REVIEW: Angela Tiatia's latest film not only honors the migration of Pacific Islander women, writes Stephanie Bailey, but reclaims the notion of the universal from both modernity's use of it to assert hegemonic western values. e-flux.com/criticism/5984…
Responding to the most recent iteration of Colomboscope, Elena Sorokina suggests that the forest might offer a productive alternative to the metaphors of illumination and mathematical harmony underpinning modern western epistemologies. e-flux.com/criticism/5976…
Join us at e-flux next Thursday, March 28 at 7pm for an event celebrating the life and work of avant-garde composer, photographer, filmmaker, videographer, and Experimental Intermedia founder Phill Niblock (1933–2024). e-flux.com/events/581285/…
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ArtReview_ @ArtReview_
344K Followers 2K Following The independent critical voice in contemporary art since 1949. Sign up to our newsletter: https://t.co/1gVy0yeQQ6 Shop: https://t.co/sBpHOM3k1a
hyperallergic @hyperallergic
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344K Followers 2K Following The independent critical voice in contemporary art since 1949. Sign up to our newsletter: https://t.co/1gVy0yeQQ6 Shop: https://t.co/sBpHOM3k1a
hyperallergic @hyperallergic
169K Followers 649 Following For the latest art news, reviews, and commentary from Hyperallergic, subscribe to our newsletters: https://t.co/FVFgUGdMKM
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'A support structure made of timber, care, and affect' e-flux.com/architecture/i… Wrote some bits of the history of @BordaCoop and some reflections around it for the @e_flux 'In Common' series. Thanks @alucidwake for the edits and lovely discussions while shaping the text.
Over dinner last fall, @p8ja & I dreamed of a collab w/@laksh_mi around Sharlene Bamboat’s IF FROM EVERY TONGUE IT DRIPS. On June 3 at @e_flux, it’s happening—a screening + convo about accented documentary, also ft. @miryam_charles & Parastoo Anoushahpour e-flux.com/live/542425/on…
Full house for Writing on Raving: afters edition at @e_flux tonight, with Journey Streams, Ev Delafose and Ricky Tucker. Thanks to everyone who came out.
REVIEW: The 1st Korkut Biennale of Sound Art not only draws on the aural histories of Kazakhstan, writes Nikolay Smirnov, but contributes to a cultural shift away from Russia in the post-Soviet world. Read here: art-agenda.com/criticism/5055…
CONVERSATION: iLiana Fokianaki talks to art-agenda about the relationship between sound, song, and democracy as a central theme of the latest edition of the Riga-based exhibition Survival Kit 13. Read here: art-agenda.com/criticism/4968…
REPORT: As Documenta 15 closes, Gregory Sholette defends ruangrupa's daring, decentralized curation in the historical context of activist art-making and in contrast to the presentation of the Berlin Biennale. @gsholette @documenta__ Read here: art-agenda.com/criticism/4918…
Routes/Worlds by Elizabeth A. Povinelli maps the creation and dismantling of worlds formed by the twinning of historical progress and settler colonialism—as a unity in events and a contradiction in ideology.
CONVERSATION: How can art intervene in the public realm, or begin to represent an entity as vast as climate change? Julian Stallabrass talks to Uta Kögelsberger about her multi-platform "Fire Complex" project. @UtaKogelsberger Read here: art-agenda.com/criticism/4912…
REVIEW: A group show at São Paulo's @maspmuseu—coinciding with the closing months of Jair Bolsonaro's first term—presents a vision of a broken, divided Brazil. But, @olibasciano asks, is that the only story? Read here: art-agenda.com/criticism/4899…
META: Reflecting on Dominique Gonzales-Foerster’s enigmatic work, the writer Daisy Hildyard considers the creative impulse as a "restless searching" that does not need to be resolved. @FonPernodRicard Read here: art-agenda.com/criticism/4882…
To fill the gap as art-agenda takes a short editorial break in August, our team has gone through the archive to find past features that resonate with the present. Enjoy, and don't forget that 1,500 art-agenda features from 2010 to the present are free to access.
In the third of our dispatches from Documenta 15 over the course of its 100 days, Skye Arundhati Thomas reflects on the exhibition’s foregrounding of collectives from the Global South, how this has been received, and what it might mean for the future. art-agenda.com/criticism/4822…
REVIEW: How can a biennial engage with local contexts while also reforming them? In Pristina for Manifesta 14, Cathryn Drake hopes that reflecting on the past might change the future. @ManifestaDotOrg Read here: art-agenda.com/criticism/4819…
REVIEW: The 2nd FRONT International brings to life a line from Langston Hughes, whose spirit the exhibition invokes: “That without one, the other would not be,” writes Ladi’Sasha Jones. art-agenda.com/criticism/4816…
REVIEW: A retrospective of Tony Cokes's work in Munich articulates a theory of history collapsing under its own weight, writes Harry Burke. Read here: art-agenda.com/criticism/4814…
ECOLOGICAL TURNS: Is it possible to make a show about climate collapse in a European institution, asks Natasha Marie Llorens, without destabilizing both the white cube gallery space and its ideological foundations? art-agenda.com/criticism/4800…
#META: Following her essay on Martine Aballéa’s work, @chusmartinez talks to art-agenda on what it means to think of art as a living being, and why she retains “the highest respect for joy.” @FondationPernodRicard Read here: art-agenda.com/criticism/4788…
#REPORT: Jörg Heiser puts the controversies engulfing Documenta 15 into the context of Germany's—and the institution's—attempts to reckon with its own past. @documenta__ Read here: art-agenda.com/criticism/4774…
#REVIEW: A combination of Hernan Bas's melancholy paintings of white male culture in decline with Zadie Xa's celebratory and hybridized textiles reflects a shift in American society, writes Danica Sachs. art-agenda.com/criticism/4772…
#CONVERSATION: Ahead of his solo show @TheMosaicRooms, Dina Ramadan talks to Mahmoud Khaled about the house museum as a medium, the melancholy of exile, and anonymity as an act of political resistance. Read here: art-agenda.com/criticism/4763…
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