Images from previous works.

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.

The publication is a part of the installation 0.004 Hz which examines an event that for several months in 2018 almost imperceptibly affected everyday life in an area of Europe comprising 25 nations, by slowing down some electrical clocks for 6 minutes over the 2-month period. The publication collects mostly found fragments that are indicative of the potential in, and are essential or tangential to this delay. Official announcements, news reports and interpretations of the incident are juxtaposed with literary, artistic, theoretical, philosophical and scientific texts. These include fragments by Karen Barad, Gertrude Stein, Marshall McLuhan, Theresa Hak Kyung Cha, Brian Massumi, Adriana ...

Asia Art Archive marks its 15th year by extending 15 Invitations to creative practitioners to look within and beyond the organization as an archive, a collection of material, a digital platform, and a node in a wider collective network. The “15 Invitations” will take various sizes, forms, and directions—literary, polemic, political, sonic, physical, and digital—and function as a series of “drop pins” to alternatively navigate where AAA originated and where it may be going. AAA’s e-journal “Field Notes” will trace the 15 participants as they contribute notes and entries to document the process, resulting in a final print publication.

“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 ...

WHEREAS divers Persons are holden in Slavery within divers of His Majesty’s Colonies, and it is just and expedient that all such Persons should be manumitted and set free, and that a reasonable Compensation should be made to the Persons hitherto entitled to the Services of such Slaves for the Loss which they will incur by being deprived of their Right to such Services. – An Act for the Abolition of Slavery throughout the British Colonies; for promoting the Industry of the manumitted Slaves; and for compensating the Persons hitherto entitled to the Services of such Slaves, 1833. 3 & 4 Will. ...

13th Amendment to the U.S. Constitution Passed by Congress January 31, 1865. Ratified December 6, 1865. Section 1. Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States, or any place subject to their jurisdiction. Section 2. Congress shall have power to enforce this article by appropriate legislation.

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 ...

In 2016 the Aerocene Foundation was invited to Exhibition Road for an interdisciplinary artistic project co-produced by members of the Exhibition Road Cultural Group: a partnership of the leading cultural and educational institutions in London, among them Serpentine Galleries, Imperial College London and The Natural History Museum. Between October and December 2016, the Aerocene Foundation activated a collaborative research platform between Exhibition Road members and wider communities by organizing two hackathons and the ‘Aerocene Campus’ in which participants engaged in debates on metabolic, social and environmental dimensions of the Aerocene epoch. During this period, experts as well as developers, designers, artists, ...

After Brad Troemel (ABT) is an artist book conceived for the JstChillin exhibition Read/Write at 319 Scholes in Brooklyn in 2011. The book—originally published in a limited edition of 20—took as its conceptual core the characterization of artist Brad Troemel as a genius and a mastermind analyzed through the lens of conspiracy theory and amateur internet sleuthing. According to artist and writer Artie Vierkant, who wrote the introduction to this edition, ABT is not “about Brad Troemel, nor any of the myriad names or identities that are mentioned in its pages. ABT is about the construction of identity in a mediated ...

Against Art History critically evaluates decolonial art exhibitions and curatorial frameworks. It asks to what extent art history can be decolonial, when its disciplinary and architectural foundation, the museum, is an inherently colonial institution. Shirazi thus examines whether new curatorial frameworks, such as in Exhibitions Without Objects (EwO) which internationalise the modernist canon of non-Western arts, undo or amplify the violence perpetrated by Euro-American historical narratives.

Three characters populate Agnieszka Kurant’s Cutaways, 2013, a short film premiering as part of exformation, the artist’s first exhibition in a United States museum. Played by Dick Miller, Charlotte Rampling, and Abe Vigoda, these characters were found, or more precisely reclaimed, from the cutting room, having been edited out of the final cuts of the feature films for which they were created: Pulp Fiction, Vanishing Point, and The Conversation, respectively. Kurant revives these figures not only by writing a brilliant new script for them but also by casting the original actors: twenty to forty years later, the roles are the ...