In this exhibition contemporary artworks are paired with works that have been destroyed or lost to the annals of art history.
The ambitious volume Dissonant Archives: Contemporary Visual Culture and Contested Narratives in the Middle East in many ways responds to the post-1990s archive fever, but from a specific geographic locale.
VENICE — As folks streamed into the dimmed theater and escaped the Venetian heat, I felt a sense of anticipation. Creative Time, which has been showcasing its support of socially engaged art practices for decades, made its way into the Venice Biennale’s central exhibition All the World’s Futures, organized by Okwui Enwezor.
BRISBANE, Australia — On the flight between Pittsburgh and Detroit, I felt art’s potential: Open Engagement 2015’s socially engaged projects had responded to the national discourse on social and racial justice.
Silenced, erased, censored — how then to represent this loss, this nothingness?
Arab Express: The Latest Art from the Arab World was a unique and timely exhibition at the Tokyo’s Mori Art Museum. The show was curated by the museum’s Nanjo Fumio and Kondo Kenichi, who also wrote essays for the catalogue, along with excellent contributions from Arab art historians Nada Shabout and Salwa Mikdadi. The exhibition featured 34 Arab artists (including one collective), 11 of them female, and covered ten Arab countries. It included 18 photographers, five video artists, nine artists that use new-media performance and installation, and only three painters.
Last week, we reported on the growing concern in the visual art and human rights communities about the treatment of workers at the Abu Dhabi Guggenheim project, and this week two Guggenheim leaders have written directly to two prominent artists who signed the petition.