Subscribe

e-flux announcements are a trusted source for exhibitions, open calls, and institutional programs from across the international art world.

Agenda delivers news from galleries, art spaces, and publications, while Criticism publishes reviews of exhibitions and books.

Architecture announcements offer a global overview of the exhibitions, publications, and conversations shaping architecture and design today.

Film announcements focus on artists’ cinema, screenings, and critical perspectives on moving image culture.

Education announces art education opportunities, including calls for applications, academic positions, and conferences.

Sign up to receive weekly invitations to screenings, talks, and public programs presented by e-flux in New York and elsewhere.

e-flux Announcements
Agenda & Criticism
Architecture
Film
Education
Events
I have read e-flux’s privacy policy and agree that e-flux may send me announcements to the email address entered above and that my data will be processed for this purpose in accordance with e-flux’s privacy policy*

Thank you for your interest in e-flux. Check your inbox to confirm your subscription.

e-flux
Subscribe
‌
e-flux
Subscribe
shop button
  • Announcements
  • Criticism
  • Notes
  • Journal
  • Architecture
  • Film
  • Education
  • Books
  • Index
  • Projects
  • Podcasts
  • Shop
  • Events
  • Bar Laika
  • e-flux App
  • Contact
  • Subscribe
  • About
  • Directory
  • Maps
    • Venice 2026
  • Events
  • Bar Laika
  • e-flux App
  • Facebook
  • Twitter
  • Instagram
  • WeChat

172 Classon Avenue
Brooklyn, NY 11205
USA

  • Privacy policy
Subscribe
  • Contact
  • Subscribe
  • About
  • Privacy policy
  • Directory
  • Facebook
  • Twitter
  • Instagram
  • WeChat
  • 172 Classon Avenue
    Brooklyn, NY 11205
    USA

e-flux
Subscribe
Announcements
  • e-flux
  • Agenda
  • Architecture
  • Education
  • Film
  • e-flux
  • Agenda
  • Architecture
  • Education
  • Film
e-fluxAnnouncement2026-08-03
e-flux
MUDEC - Museo delle Culture
Chiharu Shiota
The Moment the Snow Melts
e-fluxAnnouncement2026-08-03
Architecture
ETH Zürich
Open call: teach a design studio
e-fluxAnnouncement2026-08-01
e-flux
Singapore Art Museum

Open call: Residencies Cycle 4 (2027/2028)

e-fluxAnnouncement2026-07-31
e-flux
Edinburgh Art Festival
EAF26
e-fluxAnnouncement2026-07-31
e-flux
Remai Modern
Carried by rivers, held by lands
e-fluxAnnouncement2026-07-31
Architecture
The Temple Hoyne Buell Center for the Study of American Architecture
Research and Teaching Fellow
e-fluxAnnouncement2026-07-31
Education
apexart
Classroom Voting Program
e-fluxAnnouncement2026-07-30
e-flux
New Taipei City Art Museum
Minjian / Photography: Documentary Vision and Its Realist Inflection
e-fluxAnnouncement2026-07-30
e-flux
National Gallery of Kosovo
Open call: 15th Muslim Mulliqi International Exhibition
e-fluxAnnouncement2026-07-30
e-flux
Biennale of Sydney
Low Kee Hong appointed Artistic Director of 26th edition
e-fluxAnnouncement2026-07-30
Agenda
Arts of the Working Class
Issue 42 and TJA Fellows
e-fluxAnnouncement2026-07-30
Architecture
The Bernard and Anne Spitzer School of Architecture at The City College of New York
Đorđe Bulajić and Matija Pogorilic (BUMP Studio)
Exhibition 5M3
e-fluxAnnouncement2026-07-29
e-flux
Kunstsammlung Nordrhein-Westfalen
Fall 2026 program
e-fluxAnnouncement2026-07-29
e-flux
Serralves Museum of Contemporary Art

Summer 2026 programme

e-fluxAnnouncement2026-07-29
e-flux
Singapore Art Museum
Maria Taniguchi
Afterimage
More
Criticism
Avocado Ibuprofen’s Amber
Ben Eastham
The first reaction of followers of the account to this paperback anthology might be disappointment, because the stories have been stripped of the marvelously uncanny, zine-aesthetic drawings and doctored images that are so integral to their effect. Rather than an experiment in hybrid literary formats for the post-internet age, the reader is left with a more-or-less conventional short story collection that must stand or fall on the quality of its prose. This is a risk, but it comes off: Amber conjures a rich fictional world colored by disgust at the venality of contemporary culture and punctuated by epiphany. 
“Demeure”
Filipa Ramos
POUSH
Maybe it is the perspective provided by a shared horizon that makes a cemetery a strangely appropriate setting for an art exhibition. “Demeure” is a group show organized by the artists’ residency space POUSH and held at the Cimetière de Pantin, a vast necropolis located just outside Paris and spread out across kilometers of pathways ranged by hundreds of trees, something rare in the French capital. It presents twenty artists whose works, exhibited in the open air along the Avenue des Sophoras, and creates some touching and even joyful ways of understanding time, disappearance, and longing.
Yehwan Song’s “The Other Internet”
Katherine C. M. Adams
Subtitled NYC
“The Other Internet” implicitly positions sculpture as a corrective to the digital. What could disappear into automated slickness is incommensurate with analog mass; through this friction, Song’s sculpture metabolizes the internet, off-screen. As in Shigeko Kubota’s work, there is a theatrical dimension at work here... We know we’re watching an enclosed process; this is a scene, and the artifice is part of the point. The detailed, densely architected structure of the installation feels like a deliberate staging, even if it doesn’t conceal its apparatus from the audience.
Tolia Astakhishvili’s “Figure of the Child”
Chris McCormack
mumok – Museum moderner Kunst Stiftung Ludwig Wien
Astakhishvili makes proximate the hidden architectural infrastructure that runs through the building; the first work encountered is Their own small gardens (2026); twenty Hantarex box-monitors strewn across the floor, each displays a tracking shot of the ground below the gallery—the ducting, piping, detritus. The hidden functioning of a building is evidently part of Astakhishvili’s drive to expose or make visible characteristics that are equally reflective of a nation-state’s identity and its socioeconomic wealth as they are simply satisfying objects to examine in detail. 
Henry Taylor’s “Where thoughts provoke”
Kaelen Wilson-Goldie
Musée Picasso
Picasso described Les Demoiselles as an exorcism, but Taylor’s reinterpretation is more like an embrace. “I love other people,” he has said repeatedly in interviews. It’s an ethos that defines his work, which includes sculptures and installations as well as portraits and history paintings, all of which are given ample room to breathe in Taylor’s first major museum show in Europe. It’s also a useful tool for understanding not only how Taylor relates to Picasso but also what contemporary art can do when it is jammed into a genre of institutions dedicated to modern masters.
Victor Brecheret’s “The Indigenous Image as a Symbol of Brazilianness”
Oliver Basciano
Centro Cultural FIESP
Brecheret was friends with Mario de Andrade, a key figure in the epochal 1922 Modern Art Week, and exhibited at the first Bienal de São Paulo, in 1951. His formally innovative and arresting public sculptures dot the parks and streets of the city, and one has recently become a key figure in the culture wars. But if the exhibition at FIESP aims to placate his critics, it’s unlikely to succeed. Any broad revisionist history of the artist’s intentions cannot survive attention to the work (credit to the curators for not shying away from the condemning evidence).
More
Notes
August 3, 2026
Gilgamesh: She Who Saw the Deep. A Conversation
Film
By Pelin Tan and Anton Vidokle
July 31, 2026
The Thinking Machine: Response to Yuk Hui
By Alex Taek-Gwang Lee
July 30, 2026
On Persistence
By Rebecca Comay
July 27, 2026
Trading Spaces (Darkroom/White Cube)
Film
By Matthew Lax
July 24, 2026
“The Unhealing Modern World”: A Reading of Artistic Labour of the Body
By Alexi Kukuljevic
July 20, 2026
Cups-of-Gas Filmmaking vs. Full Tank-cum-Credit Card Fillmaking
Film
By Kidlat Tahimik
July 17, 2026
Figure Minus Fact: A Conversation
Film
By Mary Helena Clark
July 15, 2026
Orgasmic Swaps and Asphaltic Solitude: Karlovy Vary International Film Festival 2026
By Isa Jacobs
More
Journal
#164 June 2026
Issue #164
June 2026
EditorialEditors
Alcatraz as Image: The Trumpian Politics of Carceral SpectacleMartabel Wasserman
Architectures of Amnesia: Donald Judd and America’s “Forgotten War” in KoreaAndrew Sungtaek
The Algorithm and the Antichrist: Political Theology at the Sunset of Silicon ValleyGiorgio Cesarale and Matteo Pasquinelli
Do Androids Dream of AGI?Vinícius Portella
Against the Clock: Remote Work, Stolen Sleep, and the Limits of ExtractionElvia Wilk
Thank God Science Is Queer NowAldo Kempen
Fire Tribes and Stateless Worlds: A ConversationBima Satria Putra and David Wengrow and Stevphen Shukaitis
Remembering Steve Kurtz (1958–2025) of Critical Art Ensemble, Part 1Nato Thompson and Claire Pentecost and Brooke Singer and David Garcia and Rich Pell and Lucas Fortunato
Remembering Steve Kurtz (1958–2025) of Critical Art Ensemble, Part 2Nicola Triscott and Lynn Hershman Leeson and Samuel Ashford and Doug Ashford and Julie Ault and Trevor Paglen
#163 May 2026
Issue #163
May 2026
Editorial: “Intellectuals”McKenzie Wark
Speculating on an Unasked QuestionDenise Ferreira da Silva
The Public Intellectual in HistoryTithi Bhattacharya
In Darkness and Secrecy: On Conspiratorial IntellectualismBogna Konior
A Toast to FemmunismMcKenzie Wark
The Algorithm and the IntellectualAmber Musser
A Fragment, a Message in a Bottle, a ToolboxVerónica Gago
Civilization and Its Incontinence: On the Closed Effluvial Loop of Intellectual LaborDominic Pettman
The Useful NarcissistMatt Seybold
The Angel of History Goes to the FrontDaria Serenko
Critique Is Over, Morality Is Dead, and Surreal Utopias Are Where It’s AtLuce deLire
#162 April 2026
Issue #162
April 2026
Editorial: “Operativism: Labor, Automation, Agitation”Elena Vogman and Matteo Pasquinelli
to scientize agitation and politicize scienceHarun Farocki
Beneath the Information, the Operation: Harun Farocki and the Work of ImagesTom Holert
War Metabolism and Operative FilmOlexii Kuchanskyi and Elena Vogman
Fact and FetishAlla Vronskaya
The Social Research on Operation at the Central Institute of LaborAleksei Gastev and Evgenii Petrov and Aleksandra Selivanova
A Stack of Orders: On the Operative Language of Aleksei GastevDevin Fore
AI’s AURA: Aesthetic, Ubiquitous, Regimented AutomationKalindi Vora and Neda Atanasoski
More
Architecture
e-fluxAnnouncement2026-08-03
ETH Zürich
Open call: teach a design studio
e-fluxAnnouncement2026-07-31
The Temple Hoyne Buell Center for the Study of American Architecture
Research and Teaching Fellow
e-fluxAnnouncement2026-07-30
The Bernard and Anne Spitzer School of Architecture at The City College of New York
Đorđe Bulajić and Matija Pogorilic (BUMP Studio): Exhibition 5M3
e-fluxAnnouncement2026-07-29
MIT Press
Alan Dunn: The Cartoonist as Architectural Critic
e-fluxAnnouncement2026-07-28
Uzbekistan Art and Culture Development Foundation
UNESCO World Heritage list
e-fluxAnnouncement2026-07-27
Pontifical Catholic University of Chile
DATe 2026 conference
More
Education
July 31, 2026
apexart
Classroom Voting Program
July 29, 2026
Savannah College of Art and Design (SCAD)
SCADnow residential graduate program in Lacoste
July 28, 2026
Tufts University Art Galleries
Arnold J. Kemp: Not One Thing
July 27, 2026
The Art Students League of New York
Professional Practice Program
More
Books
e-fluxDecember 6, 2025
Cream Psychosis
Mary Walling Blackburn
e-fluxNovember 24, 2025
Séance: Technology of the Spirit
e-fluxSeptember 12, 2025
Theory of Seeing
Władysław Strzemiński
e-fluxJuly 15, 2024
Chaos and the Automaton
Franco “Bifo” Berardi
e-fluxSeptember 18, 2023
Navigation Beyond Vision
e-fluxNovember 3, 2022
Wonderflux: A Decade of e-flux journal
e-fluxJuly 26, 2022
Routes/Worlds
Elizabeth A. Povinelli
e-fluxFebruary 1, 2022
Accumulation: The Art, Architecture, and Media of Climate Change
More
Shop
e-flux
Index
e-flux
Books
e-flux
Merch
e-flux

172 Classon Avenue
Brooklyn, NY 11205
USA

About
Privacy Policy
Institutions

e-flux App

Contact

Facebook
Twitter
Instagram
WeChat

172 Classon Avenue
Brooklyn, NY 11205
USA

Subscribe
e-flux
Advertisement