View all Issues Distribution Books Colophon Letters to the Editor
  • Julieta Aranda, Brian Kuan Wood, Anton Vidokle

    Editorial
  • Dieter Roelstraete

    The Business: On the Unbearable Lightness of Art

    Of course, we should note here that the cult of lightness, litheness, and slightness in art also has a social quality, and here too the embattled concept of the nobility of work plays a crucial role: the rejection of, or resistance to, work, and the concomitant glamorization of effortlessness, are little more than contemporary updates of the concept of genius (which, it turns out, we were much too quick to dismiss as historically exhausted).

  • Rasmus Fleischer

    How Music Takes Place: Excerpts From “The Post-digital Manifesto”

    If viewed from a distance, all unique combinations of instrument and sound effects start to resemble something more like meta-instruments. The same thing happens if we consider hardware and software, and the different ways in which they can be configured to produce sounds. The development of the musical means of production finds its expression in innovations made at this meta-instrumental level, and these show themselves for the most part to be the results of collective experimentation without any identifiable single author.

  • Hans Ulrich Obrist

    In Conversation with Nawal El Saadawi

    Well, in my life, I make no distinction between novels and autobiography, between fiction and facts, the physical and the social or political, the body and the mind. In fact, creativity is the ability to link everything. So the novel Two Women in One is about the schizophrenia that women and men inherit from patriarchy and slavery. It is because of this schizophrenia that the woman in the novel is divided into two by patriarchy, by sexual and political oppression. At the end, she also makes a revolution.

  • Adam Kleinman

    On Sophia Al-Maria’s The Girl Who Fell to Earth

    Throughout the book, Sophia is asked to check boxes, like when she applies to college and is asked to identify her ethnicity. Not content with the prescribed fields, she ticks “other” and insouciantly specifies herself as an “alien.” Status is again put into question in a later scene; when asked which name she goes by, “Sophia” or “Safya,” Sophia replies curtly, “whichever.”

  • James T. Hong

    From Guilt to Sickness, Part I: Looking for Plague in All the Right Places

    I had heard of so-called “Holocaust Tourists,” and then I became one. I am also a “Japanese Atrocity Tourist,” as I have toured sites throughout China and Asia. Get in, get some shots, get out. I thought Daniel Goldhagen’s Worse Than War genocide documentary should have been on the Travel Channel with a more charismatic host.

  • Irmgard Emmelhainz

    Art and the Cultural Turn: Farewell to Committed, Autonomous Art?

    Cultural engineering embodies corporate and government interference in the design and form of living spaces, because it means developing projects with the goal of constructing realities in which culture acts as a fundamental element of innovation, dynamism, and individual and social welfare. For example, culture has been used to revive economically depressed areas, develop educational strategies, and design social spaces. By being present in every corner of the world as an instrument of intervention and improvement—and to promote liberal values—contemporary art also helps normalize neoliberal policies.

artreview
Asia Art Archive
e-flux iPad App
Salt
artforum
bookforum
TZK
SeMA Biennale Mediacity Seoul
bonniers
springerin
Today Art Museum