January 01, 2021

Monstrous Matter - Dora Dubor

In recent years, scientists and humanities researchers have started to understand organisms as nodes in complex networks; networks so intricate that it’s impossible to distinguish where an organism begins or ends. As humanity is faced with the COVID-19 outbreak, the porosity of being seems as relevant as it is unsettling. Exposing the precarity of the interconnectedness of our biological lives, the pandemic reminds us that symbiotic relations are constantly renewed and negotiated, and when conditions suddenly shift, once life-sustaining relations can become deadly. While this realisation can seem new for the vast majority of people, artists have developed practices deeply rooted in making sense of life entanglements. This essay explores the ways in which Croatian artist Dora Budor’s most recent works and installations speak to the interconnectedness of matter from a biological and historical point of view, and how it helps us make sense of the messy and troubled times we find ourselves in.

January 25, 2020

Jessie Makinson | Nobody Axed You To | Exhibition Catalogue

Fabian Lang published a special catalogue of Jessie Makinson’s recent work, featuring an in depth essay by curator Marie-Charlotte Carrier.

Nobody Axed You To is an exhibition featuring series of new commissions by British artist Jessie Makinson. The exhibition comprises large-scale oil paintings on canvas, a painted and carved Paravent, an in-situ wall-installation and several smaller ink and watercolour drawings, showing the variety of the artist’s practice. 

May 12, 2019

Exhibition review for magazine Espace Art Actuel




Entering Marguerite Humeau’s ECSTASIES at the Kunstverein in Hamburg evokes a journey through the abyss of a mystical cave. Echoes of distant groans and whispered chants interrupt the muted atmosphere of the gallery space, while delicate rays of light illuminate bronze and translucent alabaster sculptures. Humeau’s exhibition, an edited version of her September 2018 solo show at the New Museum in New York, presents a tribe of totemic sculptures along with hypnotising sound pieces and a series of wildly annotated drawings and sketches (...)

January 01, 2019

Exhibition review for magazine Espace Art Actuel, 

Chisenhale Gallery

London (UK)

29 June – 26 August 2018

Banu Cennetoğlu first came across “The List” in 2002. At the time, it indexed the names of about 6,000 migrants and refugees who have lost their lives trying to reach Europe since 1993. Then a photography student at Rijksakademie in Amsterdam, Cennetoğlu became obsessed with the classification, appropriation and distribution of the database. She was fascinated by the ways in which this archive testifies to the disregarded tragedies occurring within and on the verge of Europe’s borders. By 2018, UNITED for Intercultural Action, the NGO responsible for compiling the database had numbered more than 34,000 deaths. (...)

November 01, 2018

Interview with Soft Body Protocol, BORA AKINCITURK AND MEHMET DURAN

interview for Art Contemporary Club. 

Art Contemporary Club is proud to host the online exhibition It’s a Very Lonely Place 2018, the first volume of Soft Body Protocol, a collective formed by Bora Akinciturk and Mehmet Duran.  

June 07, 2018

Exhibition Review, Sarah Sze, Victoria Miro

When Hito Steyerl wrote In Defense of the Poor Image in 2009, she advocated for the usefulness of the theoretical multiplicity of one of the debris of the digital age, the poor image. Almost 10 years later what she described as the “flattening-out of visual content” prevails and saturates the everyday. In light of the spread, velocity and intensity of the circulation of visual information, Sarah Sze’s most recent exhibition at Victoria Miro in London offers a new battleground for the poor image. (...)

August 31, 2017

Subverting Politics and Aesthetics The Mosque: The first Mosque in the Historic City of Venice

Abstract : Swiss artist Christoph Buchel is known for intensely political and provocative works that challenge artistic and societal assumptions by inviting the active participation of the viewer. A master of subversion, he disturbs boundaries between art and life so well that his installations often become stages for the actual artwork, namely their reception and the controversy around them. Looking at Buchel’s 2015 Venice Biennale installation entitled THE MOSQUE: The First Mosque in the Historic City of Venice, this essay aims to investigate the concept of subversion using Jacques Rancière’s writing on aesthetics and politics. I wish to investigate the possible aesthetics and politics at play in THE MOSQUE, by discerning the ways in which it can create what Rancière calls dissensus. Dissensus is a new configuration of the perceptible, a reworking of the configuration of the real, and can therefore be interpreted the ultimate act of subversion. I will argue that THE MOSQUE is a manifestation of the layering of cultures and ideas that have shaped Venice and, more broadly, given rise to some of the most urgent societal questions of our contemporary age. It provides a space that goes beyond mere reflection and mystification, and it has the potential to reconfigure the possible and subvert modes of doing and thinking. Throughout the Venice Biennale, THE MOSQUE invited the public, including the citizens of Iceland, to reflect upon the different cultural, historical, and sociopolitical systems defining our relationship to one another, and encouraged conversation about the opportunities and challenges such relationship entails.

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