The artist’s solo US museum debut at the Baltimore Museum of Art is a contemptuous, at times satirical, take on oppression that gives way to a new history.
Farah Abdessamad
Farah Abdessamad is a Tunisian-French writer and critic. You can follow her on Twitter: @farahstlouis
Posted inPerformance
Korean Musical Traditions Meet Greek Tragedy in Trojan Women
Speaking and singing in Korean with English subtitles, the cast leans on the traditional Korean folk storytelling tradition of pansori, and more modern musical accompaniment.
Posted inArt
Tunisia’s “Dream City” Festival Needs Awakening
In this assemblage of multinational artworks, a cohesive postcolonial canvas fails to fully emerge, owing to Dream City’s lack of bold vision.
Posted inOpinion
Paris+ by Art Basel Fails Even as it Starts
The leadership of Paris+ and its 10-dealer-strong advisory board have oddly forgotten to include a single person of color.
Posted inOpinion
Do We Really Need a Mona Lisa Immersive Experience?
The only surprise perhaps is that this hasn’t come sooner given the extent to which the Louvre Museum expansively brands itself and its collection around the figure.
Posted inOpinion
The Louvre Shouldn’t Exhibit Trafficked Antiquities from Libya and Syria
The museum forgets that it is already a violent graveyard of colonial-era cultural trophies removed from their homelands under dubious circumstances.
