At the request of 2023 grantee Hito Steyerl, this year’s award will be replaced with a panel about antisemitism and racism.
The artist cited the organizers’ handling of antisemitism allegations and the ensuing fallout. Meron Mendel, head of the Anne Frank Educational Institute in Frankfurt, stepped down from his position as a consultant for the exhibition.
4 Nights at the Museum, a “weird-ass visual podcast,” is a good example of responsive curating amid the pandemic.
Where Farocki’s works are meditative, Steyerl’s are bold and loud — which would make for an interesting juxtaposition if the selected works didn’t feel so at odds with each other.
During a performance piece in Berlin, Steyerl demanded state-run art institutions stop showing her work as part of the country’s “external cultural diplomacy” until the country changes its policy toward the Turkish invasion of Kurdish areas in northeast Syria.
An oracle of our end times, Steyerl is a crucial voice in a chorus of culture critics seeking to understand contemporary culture, but does her new installation on gun violence misfire?
Artistic allusions to rising waters can be found across the Venice Biennale this year, and they strike home with a particular power given the ongoing destruction of the natural world.
The Whitney Museum’s Dreamlands gathers a century of immersive moving image art, cutting across time and technology.
The new book Social Medium: Artists Writing, 2000–2015 over-relies on art institutions to vet a very uneven selection of writings by 75 artists.
Opening in the shadow of the Paris attacks, the exhibition Collected by Thea Westreich Wagner and Ethan Wagner represents — as Adam Weinberg, the director of the Whitney Museum of American Art, said in his remarks at the press preview — “a celebration of what matters in life.”
In response to the German government’s insistence on imposing austerity measures on Greece, the artists representing Germany at this year’s Venice Biennale have made a simple but powerful statement in support of the debt-ridden nation.
For the last several years now, as the credits roll at the end of her films, artist Hito Steyerl’s name, rather than appearing alongside the typical “Written and Directed by,” is listed with roles (or non-roles) considerably more blurred and expressionistic.