Anicka Yi’s In Love with the World is an attempt to break down the distinctions we make between plants, animals, micro-organisms, and technology.
In Paul, Daisy Lafarge delicately unpacks the power plays and mind games of a toxic relationship, with an emphasis on society’s — and art’s — silencing of women.
Christine Borland looks at one of the oldest known forms of fabric in the world.
A corrective to the sculptor’s self-aggrandizing, The Making of Rodin draws attention to the hidden figures who made his work possible.
For the Montserrat-born artist, seeds are both a metaphor for and a physical continuation of the Afro-Caribbean diaspora.
Inspired by the farmers’ protests Rafael Pérez Evans witnessed as a child in Spain, the works in Handful draw attention to the deliberate wedges driven between producer and consumer.
As the Turner Prize-nominated duo Cooking Sections forcefully reveals, it’s not just salmon that are changing color due to harmful agricultural techniques.
Tomás Saraceno’s retrospective exhibition at Palazzo Strozzi gives a closer look at the lives and creations of spiders to reveal how completely ecologies are entangled and spaces are shared with our nonhuman companions.
After the pandemic pushed back their exhibition, two curators teamed up to develop The Botanical Mind Online a new platform that makes effective use of parallels between plant communication and the internet.
Deliberately unsubtle, the central message of Vasconcelos’s work challenges the snobbery of the art world and champions the inclusion of women and outsiders.
Depictions of Living imagines itself as an act of protest, touching on both the microcosm of individual actions and the macrocosm of the Anthropocene.
Joy Labinjo’s intimate family portraits are based on her archive of photographs, as well as Instagram and Flickr, straddling online and offline worlds and forging links between past and present.