e-flux

e-flux announcements are emailed press releases for art exhibitions from all over the world.

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

Architecture announcements cover current architecture and design projects, symposia, exhibitions, and publications from all over the world.

Film announcements are newsletters about screenings, film festivals, and exhibitions of moving image.

Education announces academic employment opportunities, calls for applications, symposia, publications, exhibitions, and educational programs.

e-flux Announcements

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Announcements

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Agenda
Architecture
Education
Film

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Agenda
Architecture
Education
Film

e-fluxAnnouncement2025-07-11

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transmediale

Open call: exhibition curation

e-fluxAnnouncement2025-07-11

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Bienal das Amazônias

Second edition: Verde-Distância

e-fluxAnnouncement2025-07-11

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San José Museum of Art

Pao Houa Her
The Imaginative Landscape

e-fluxAnnouncement2025-07-11

Architecture

Architectural Association School of Architecture

AA Visiting School: Playful Cartographies

e-fluxAnnouncement2025-07-11

Architecture

Victoria and Albert Museum

The Design Trust Fellowship at V&A East

e-fluxAnnouncement2025-07-11

Education

Matters of Activity, Cluster of Excellence at Humboldt-Universität zu Berlin

Michaela Büsse
Blazing Heath/Heideglühen

e-fluxAnnouncement2025-07-10

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Para Site

Seeking Executive Director

e-fluxAnnouncement2025-07-10

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Latvian Centre for Contemporary Art

Survival Kit 16: House of See-More

e-fluxAnnouncement2025-07-10

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Casino Luxembourg – Forum d’art contemporain

Aline Bouvy
Hot Flashes

e-fluxAnnouncement2025-07-10

Agenda

ArtAsiaPacific

July/August 2025

e-fluxAnnouncement2025-07-10

Architecture

Harvard University Graduate School of Design

15th Veronica Rudge Green Prize in Urban Design

e-fluxAnnouncement2025-07-10

Education

Milton Avery Graduate School of the Arts at Bard College

Class of 2026
Double Take

e-fluxAnnouncement2025-07-09

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National Museum of Contemporary Art, Athens (EMST)

Launch of Octopus issue 2: “Wild Words”

e-fluxAnnouncement2025-07-09

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Istanbul Biennial

Venues for first leg of 18th edition: The Three-Legged Cat

e-fluxAnnouncement2025-07-09

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Malmö Konsthall

Lars Fredrikson

Criticism

19th Venice Architecture Biennale, National Pavilions

Océane Ragoucy

This substance is not always consistent with the demands of an exhibition to be stimulating to the senses as well as intellectually rigorous, to convey an idea through spatial and sensory means, and too many pavilions tend towards the presentation of those inscrutable diagrams, innumerable plans, and fiddly models that are the bane of the format. Yet several succeeded in their attempts to reimagine our relationship to both the physical landscape and the built environment, and these proved to be among the most compelling installations.

“The Plantation Plot”

Max Crosbie-Jones

ILHAM

In her 1971 essay about the Caribbean system, “Novel and History, Plot and Plantation,” Sylvia Wynter posits that plantation history is a fiction—a plot authored by the market economy—to be overcome. Invoking Wynter, the wall text opens with a bitter admission of defeat. Here, amid the ruins of the “broken world,” inherited artworks corralled from across Southeast Asia and the Americas are positioned much as the literary novel is in Wynter’s essay: as a tool for making the plantation’s master narrative of political economy and human consequences clearer.

Tomaso Binga’s “Euforia”

Jennifer Teets

Madre Museum

Embedded in linguistics and semiotics, Binga’s works repeatedly ask: “Am I the object, am I the subject?” In her visual poetry—examples of which are displayed at the end of the exhibition—the artist consistently privileges the feminine; she alters verb conjugations to exclude male forms, introducing what co-curator Daria Khan describes as “intended errors”—subtle, deliberate disruptions of normative grammar and gender. In its nonlinear format, “Euforia” embraces fragmentation over progression, affect over order.

13th Berlin Biennale, “passing the fugitive on”

Jeffrey West Kirkwood

The terms for the 13th Berlin Biennale are set out in the first room. On display is Armin Linke’s photographic installation depicting Anton von Werner’s 1881 painting The Congress of Berlin. This summit of imperial European powers resulted in the Treaty of Berlin, which carved up the Balkan region and established the “status quo” with “respect to the Holy Places” of Jerusalem and Bethlehem, guaranteeing access “without distinction of creed.” Absent from the Congress, but germane to this exhibition, were representatives of the communities who would be governed by that “status quo.”

Katsura Mochizuki’s “Freedom Fighter”

Sam Thorne

Maruki Gallery

Mochizuki’s own work has remained barely exhibited and hardly known. During the pandemic, his grandson opened his family’s collection to a research team of curators, artists, and archivists, assembled by art historian Gen Adachi. Together they developed this landmark project, contributing detailed object labels and a zine, alongside a stripped-back exhibition design and short video response. Several members of this team have been prominent activists in the wake of the 2011 Fukushima nuclear disaster, and make a compelling case for Mochizuki’s importance to ongoing debates around questions of ecology, community, and resistance.

Theory and Practice

The Editors

Reflecting on the story of Efimov, the narrator of Mircea Cărtărescu’s Solenoid (2015) reads it differently. Drawing on his own experience as a young poet who was brutally cut down by the “great critic” leading a writing workshop, he proposes that it was the conservatory-trained musician who was the imposter. Where he played “an art that followed the rules, the centuries-old canons” that anyone could appreciate, Efimov was “too great and too new and too out of nowhere to be truly understood,” making music that could only be perceived as a “boundless light.”

Tourmaline’s Marsha: The Joy and Defiance of Marsha P. Johnson

McKenzie Wark

Tiny Reparations Books

For Tourmaline, “Marsha was an innovator of a form of freedom.” The benefit of this framing is that it rescues Marsha from being reduced to a sacrificial icon, or an object of injustice. It restores the agency and beauty to her life and labors. Tourmaline gives us a version of Marsha to help create even more possibilities for trans life. Particularly for Black trans life. In Raquel Willis, Mya Taylor, Laverne Cox, or Tourmaline herself, there are examples of Black trans womanhood that show what can bloom with a little more nurturing and tending than was ever made available to ...

Viktor Timofeev’s “Other Passengers”

Patrick Langley

Latvian National Museum of Art

Timofeev’s previous works are underpinned by an architectural sensibility in which built environments are mined for their psychological as much as formal qualities. The urban terrains depicted in his drawings, paintings, installations, and computer games are often futuristic, even utopian-seeming in their construction yet destabilized by eerie energies. Buildings multiply into irrational, hive-like spaces or are invaded by tentacular growths or ghostlike figures. This oneiric mood is here extended into the gallery, suggesting that, in this particular architecture, the viewer is the ghost.

“On Education”

Hindley Wang

Amant

A psychoanalytic preoccupation with childhood and its traumas runs through an exhibition that attends to the “forms of violence—both real and symbolic—that are intrinsic to the process of being educated.” Heading through Ghislaine Leung’s baby gates to enter a show featuring works by thirty-five artists, the visitor encounters a life-size turquoise Cookie Monster with eyeballs askew and mouth wide. Stefan Tcherepnin’s Cadisyphos with Baggages (2019) is pulling a cardboard yellow school bus behind it, as if to satirize the futile horror of early schooling [...] The tone is set.

Notes

July 11, 2025

Universal Substitution: Review of Universal Prostitution and Modernist Abstraction by Jaleh Mansoor

By Thomas Waller

July 10, 2025

Stairway To Melon: A Conversation

Film

By Viktor Timofeev and Ericka Beckman

July 9, 2025

Paranoiac Power

By Alenka Zupančič

June 30, 2025

Do We Need the “Alternative” Malevich?

The National Museum of Contemporary Art of Romania recently opened the exhibition Kazimir Malevich: Outliving History. The show includes three previously unseen canvases attributed to Kazimir Malevich, alongside a selection of fourteen abstract works by contemporary Romanian artists.

By Konstantin Akinsha

June 27, 2025

Power to the Symptoms!

By Pietro Bianchi

June 25, 2025

Scenes from a Conceptual History of Courage, Part 2

By Frank Ruda

June 23, 2025

The Pleasures of Existence: Interview

Film

By Agnès Varda

June 20, 2025

Scenes from a Conceptual History of Courage, Part 1

By Frank Ruda

June 18, 2025

Paradigms of Truth: 22nd International Human Rights Film Festival Docudays

By Sonya Vseliubska

June 16, 2025

Diseuse

Film

By Theresa Hak Kyung Cha

June 13, 2025

How to Research Like a Dog

By Aaron Schuster

June 11, 2025

Towards a New Universalism

By Boris Groys

June 9, 2025

The Sun is Burning the Unspoken: A Conversation

Film

By Ariana Kalliga and Joyce Joumaa

June 6, 2025

A Militant Book: Interview with Leopoldina Fortunati

By Andreas Petrossiants and Giulia Sbaffi

June 3, 2025

To the Whitney Museum of American Art

As Alumni, Faculty, and Friends of the Whitney Independent Study Program, we unequivocally support the 2024–25 ISP cohort who were censored when presenting work in solidarity with the struggle for Palestinian freedom. We uplift their efforts to create and debate art while reckoning with political violence and institutional coercion, and affirm our shared solidarity against the ongoing genocide in Gaza.

June 2, 2025

Image, Death, Memory: Imaginary Dialogues