and art-agenda editorial is now e-flux Criticism
Every courageous life is a song to the future
To Divide By
Drawing something under itself
The Oscar Niemeyer building that houses the 35th edition of the Global South’s longest-running biennial is as much protagonist as background. Located in the bustling urban park of Ibirapuera, the art inside this architectural leviathan is only separated from the city’s greenery by glass walls, and its entrances are open six days a week. There is no charge to enter, monetary or otherwise: visitors needn’t reserve, wait, or check in with personal data like email addresses or postal codes, but can glide in and out as if the show were an extension of public space.
Barcelona Gallery Weekend’s ninth edition, which featured works by more than sixty artists exhibited in twenty-seven galleries across the city, showcased the robustness and vitality of the city’s gallery scene. As such, it set an ironic context for a shared concern of several exhibitions: fragility. This manifested in the use of delicate materials—glass featured prominently in more than one show—and might be understood as the collective response to a more widespread anxiety, perhaps even dread.
Featuring the Cubist impulses of Vicente Manansala’s 1960 still life featuring the titular mango and papaya, the linear flourishes of Fernando Zobel’s Castilla XXII (1957), Leo Valledor’s color field appropriation of the Philippine flag (1981), and more contemporary brick paintings by Maria Taniguchi (2018), the exhibition makes a worthwhile attempt to revisit geometric abstraction in the Philippines and to renew the stakes for thinking about it both in and beyond its art-historical, stylistic, and disciplinary contexts.
Given Liverpool’s role as a major hub for the slave trade during the eighteenth and early nineteenth centuries, it’s surprising that past editions of the city’s biennial have not engaged more directly with this subject. The legacy of slavery haunts the port city: it can be seen in the many warehouses by the docks, the streets named after slave traders, and the monuments addressing it. This year’s biennial dives fully into that history, guided by Cape Town-based curator Khanyisile Mbongwa’s approach, rooted in remembrance but also in the seeking of potential avenues to healing.
The lighting varies from image to image: green-tinged in one, it is purplish in the next, and dappled green and purple in the third. It takes a moment before you understand that this is a child’s room, lit by both streetlamps outside and a kaleidoscopic bedside light inside. There is no knowing when the photographs were taken, whether they were shot in quick succession or over a period of hours, even days, so the temporality of parental responsibility sketched here is loose. And this looseness is Taleb’s central concern, though “concern” is perhaps too pointed a term. His vision is milder than that, less obviously willed and organized.
While Hiroshi Yoshimura was recording his debut album, in 1982, he visited the Hara Museum of Contemporary Art in Tokyo, which had opened a few years before. Struck by how this curving Art Deco building framed a series of views onto tree-lined gardens, he approached a curator about the possibility of playing his record in the galleries. They agreed, and so Yoshimura’s first album—titled Music for Nine Post Cards—also became his first public commission.
Jacques Derrida proclaims that “Cinema is the art of ghosts, a battle of phantoms. It’s the art of allowing ghosts to come back.” Blending animist beliefs held by Indigenous communities across Southeast Asia with the importance given to reincarnation within Buddhist theology, Nguyen uses film as a medium, not just as the material form of his art practice but as a channel through which to conjure forgotten pasts, narrate counter-memories, and confront historical violence and ecological destruction.
If you ask a machine learning network to generate an image of a rose or to describe it in language, it will not go and look very carefully at a rose. It will instead summarise existing representations of a rose, gathered from sources that must be out of date by comparison to any rose observed in the present. These are “mean” compositional methodologies in the sense defined by Hito Steyerl, and they are not limited to artificial intelligences: Gustave Flaubert was satirizing the tendency to construct the world out of received ideas as far back as 1881.
There are many ways to move through and think alongside Ethan Philbrick’s Group Works. At first glance, it’s a book of academic theory coming out of performance studies. Following a “desire for collectivity,” Philbrick takes the small-scale formation of “the group” as the locus of inquiry. He enters the text with a tentativeness toward groups, recognizing the ways that they are frequently viewed with healthy suspicion or uncritical celebration.
To Divide By
World Discovered Under Other Skies
The history of avant-garde museology begins after the October Revolution, when the Russian champions of new art proposed the establishment of a network of Museums of Artistic Culture. Not much later, a group of New-York-based modernists and Dadaists started the Société Anonyme, a collective that sought to establish the first American museum of modern art. The successive chapters of this story were written by the Russian Constructivist El Lissitzky, who designed the Kabinett der Abstrakten at the Hanover Provinzialmuseum, and by the avant-garde a.r. group, whose efforts began the International Collection of Modern Art at the Łódź museum now known as the Muzeum Sztuki.
