There isn’t enough discussion about the institutional structures that led to the exclusion of underrepresented artists from art history in the first place.
In conversations with Hans Ulrich Obrist, Glissant proposed an Art Museum of the Americas.
Serpentine Galleries’ “Future Art Ecosystems” emerges as an odd but occasionally insightful case study of the impact of the broader institutional shift to the digital realm.
The artist and the poet sat down together at Miami’s largest art fair to discuss their mutual influence and inspiration.
Nine artists are putting a digital twist on instruction-based art, removing the aspect of in-person engagement fundamental to such works by Marcel Duchamp to Yoko Ono.
PARIS — Take Me (I’m Yours) at the Monnaie de Paris revives and expands a 1995 exhibition curated by Christian Boltanski and Hans-Ulrich Obrist at London’s Serpentine Gallery, in which all the art is designed to be touched and taken away.
LOS ANGELES — The art world has a lot of feelings about Instagram. On a humid Saturday night in Los Angeles, the roving cultural hub ForYourArt spilled their #instaguts about it all through the Instagram Mini-Marathon.
An upcoming Marina Abramović show about “nothing” at London’s Serpentine Gallery has found several prominent art historians and critics at odds with the artist and Serpentine curator Hans-Ulrich Obrist.
ARLES, France — It first looked to be cold, gray, and rainy on the first April weekend in Arles, somewhat in stride with the general dour spirit of the French these days.
LOS ANGELES — How many literary readings involve a faux-gorilla dancing with a palm leaf and bunch of balloons? Or a megaphone? Or someone tossing handmade zines into the audience with abandon? Artists Read Baldessari was this type of event.
LONDON — There’s been quite a buzz around Wael Shawky lately. Since graduating with his MFA in 2001, the Egyptian artist has gone on to rack up an impressive number of accolades. Riding on this surge of enthusiasm, London’s Serpentine Gallery has deemed it time that Shawky receive his first major presentation in the capital, and the resulting exhibition is Wael Shawky: Al-Qurban (‘The Offering’).
Over the weekend, an activist group calling itself Future Interns descended upon the Serpentine Gallery in London’s Hyde Park. Their objection, the Guardian reports, was to yet another instance of the art economy’s exploitative labor model: uncompensated, administrative work under the guise of internship.