The “Free-floating” Srinagar Biennale explores Kashmiri artists’ fractured sense of place through memory, nostalgia, loss and national belonging. Carlson delves into how the Srinagar Biennale adopts an innovative and free-flowing format that allows the Kashmiri community to assert a new visual narrative through a ‘rhizomatic’ approach by engaging viewers in a sensorial experience rather than a visual one.

“18 PARIS IV.70” was an exhibition organized by Michel Claura in Paris in 1970. Held at a temporary space on Rue Mouffetard that April, it was accompanied by this trilingual publication (in English, French, and German), edited by Claura and published and distributed by Seth Siegelaub. Claura invited a group of artists to each contribute a work to the exhibition. Having collected a series of artist proposals, Claura then sent this collection to each of the participants, after which they were allowed to change their initial plans. This publication includes a preface and a postface by Claura and a two-part entry ...

In Splendide Hotel – 1887 there is one sole room and it is transparent, containing apparitions of all literary, musical, scientific and abstract sorts. From an internal monologue to quantum physics to the gramophone and bioluminescence, within this little book there is a collection of nearly all the references serving to rebuild this hotel within the Cristal Palace to reveal 1887 as the birth year of our universe.

Is it possible to grasp a large-scale group exhibition based on a single artwork? This is the question posed by curator and critic Julia Moritz in her series of experimental reviews titled “Pick a Piece.” To Moritz, responding to the mushrooming of mega-exhibitions with the sturdy format of the art review means radical choice: to (en)counter the explosion of exhibitions with the implosion of inspection, with the selection of just one piece – this time from this summer’s art fairs and biennials in Basel, Palermo, and Berlin.

74 million million million tons is an exhibition about the types of evidence that artworks can produce. Employing different methodologies to investigate, intervene, and assemble, the artists in the exhibition reveal subjects on the threshold of politics and the outskirts of legality: the robot, the refugee, the environment, the startup, and others. While their subject matter is divergent, the exhibition’s artists push against narratives put forth by corporate and government industries by producing specific knowledge and corroborative objects around un-mapped historical and political events. Directly intervening in the moments before such events coalesce into widely accepted narratives, they anticipate and ...

This volume collects the curatorial writing produced at Noxious Sector Projects, a window gallery in downtown Seattle, curated by Ted Hiebert between 2011-13. The gallery had as its mandate to be a “formalized forum for informal inquiry” and to exhibit works that creatively challenged the boundaries between the imaginary and the everyday. Featuring the work of: Jackson 2bears, Cindy Baker, Cedar Tavern Singers, Tanya Doody, Neal Fryett, Tetsushi Higashino, Doug Jarvis, Arthur & Marilouise Kroker, Christian Kuras & Ben Tanner, Christian Kuras & Duncan MacKenzie, David LaRiviere, Nate Larson & Marni Shindelman, Urich Lau, Deirdre Logue & Allyson Mitchell, Susan ...

Laura Lamiel has been making work now for five decades. So in ways, the recent presence of her work in international contexts, or at least the inclusion of her work in biennials and her representation by young galleries with broad exposure, amounts to a rediscovery. That a private foundation in France has joined with the French Ministry of Culture in commissioning a text on Lamiel’s work – this fact alone gives some indication of what’s changed; if not in Lamiel’s work, then around it. It also suggests that Lamiel’s work has been underserved by writing in particular. So one of ...

What does it mean to possess a deep understanding of the material world around us? When so many of us spend countless waking hours engrossed in screens, “material intelligence” feels hard to come by these days. The most recent champion of the term, craft scholar Glenn Adamson, demands nothing short of a literal call to arms to “recover our literacy in the ways of the physical world”: do things with your hands, farm, weave, build furniture, construct a house! In Adamson’s historical thinking, our practical detachment from the environment is implicated in an ongoing denigration of manual skills and trades ...

Bertille Bak, an artist living and working in Paris, has been developing for more than a decade a practice that centres on observing societies, understanding the organisation between individuals, highlighting their personal and collective histories, traditions and folklores, their hobbies and revolts. Working in collaboration with community groups, she constructs narratives between fiction and documentaries where poetry and utopias usurp the simple assessment of a situation or site…

virgil b/g taylor: Minor Publics is a large-scale installation exploring the boundaries between art and memorial through research and poetic encounters with Sol LeWitt’s Black Form–Dedicated to the Missing Jews. Originally installed in Münster as part of the 1987 Skulptur Projekte, LeWitt later sold the sculpture to the city of Hamburg in 1989 and donated the fee. Black Form represents an oft-overlooked component of LeWitt’s work that extends beyond his conceptual and dematerialized methodologies to address deeply political and personal questions. The exhibition is framed by a core text by taylor that ruminates on the notion of a “bima”— a Greek and Hebrew architectural term ...

I am wearing these words. I wish they were bespoke, well-cut, stylish. I wish I wore them with carefree ease, the grace that comes with joyful confidence, sprightly health, and an unburdened conscious. But these words are second-hand, I found most of them in the scrap heap, stole others from my betters, and none of them are rightly mine. They are worn and stained, clunky and awkward, a poor fit for what I really mean to say. Woven into stories, I pretend they are a person. They fail as soon as I slip them on. They are not even made of ...