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-fluxAnnouncement2025-06-30

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Fundação Bienal de São Paulo

36th Bienal de São Paulo
Not All Travellers Walk Roads—Of Humanity as Practice

e-fluxAnnouncement2025-06-30

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YDP

Inaugural programme

e-fluxAnnouncement2025-06-30

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Kunsthall Trondheim

Fall–winter 2025 program

e-fluxAnnouncement2025-06-30

Agenda

AHA Collective

Weaving Culture: Anna Boghiguian’s residency

e-fluxAnnouncement2025-06-30

Agenda

Le 19, Centre régional d’art contemporain

Toxoplasma
Bric-à-Brac

e-fluxAnnouncement2025-06-30

Architecture

ETH Zürich

IT WAS ALL FIELDS ONCE

e-fluxAnnouncement2025-06-30

Architecture

Graham Foundation

2025 grants to individuals

e-fluxAnnouncement2025-06-30

Architecture

Sharjah Architecture Triennial

Theme for third edition (SAT03)

e-fluxAnnouncement2025-06-30

Education

Swimming Pool

Nine Elephants Vol 2: Fantastic Routes

e-fluxAnnouncement2025-06-30

Education

Sam Fox School of Design & Visual Arts at Washington University in St. Louis

Slow Gardens

e-fluxAnnouncement2025-06-28

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Changwon Sculpture Biennale

Seeking Artistic Director for 2026 edition

e-fluxAnnouncement2025-06-27

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National Museum of Modern and Contemporary Art, Gwacheon

Otherlands II: Wael Shawky, Akram Zaatari

e-fluxAnnouncement2025-06-27

e-flux

M+, West Kowloon Cultural District

Canton Modern: Art and Visual Culture, 1900s–1970s

e-fluxAnnouncement2025-06-27

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SeMA, Seoul Museum of Art

KITSCH & POP: Korean Pop Art Now

e-fluxAnnouncement2025-06-27

e-flux

Kunsthalle Mannheim

Berlin, Paris, and Beyond

Criticism

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.

Eltiqa’s “How to Work Together?”

Stephanie Bailey

Jameel Arts Centre

This meticulously organized assemblage of paintings, photographs, and studies tracks the story of an artist collective founded in Gaza City in 2000, which adopted the name Eltiqa—Arabic for “encounter” or “meeting”—in 2002. Curated by The Question of Funding, two parallel tracks are held together by a wooden scaffold system with display boards holding artworks alongside archive photos and numbered placards that trace Eltiqa’s evolution across time, highlighting the distinctive aesthetics of six core group members on the one hand, and their determination to support one another and their community through mutual aid on the other.

London Gallery Weekend

Orit Gat

Eleven years ago, Dan Fox wrote that “New York is a painting town,” that oil on canvas is the city’s “true love.” It was the time of zombie formalism, abstract paintings everywhere and a market voracious for more. What you saw in galleries matched what was selling in auction houses and it felt like the medium itself was bound to collectors’ whims. Now London, too, is a painting town. And yet, while a large majority of the exhibitions on view during London Gallery Weekend are focused on painting, some things have changed. Today’s paintings offer new ideas that feel contemporary even ...

Pierre Huyghe’s “Liminal”

Lukas Brasiskis

Leeum Museum of Art

In Huyghe’s world, the human is no longer the organizing center of knowledge. Paraphrasing Eugene Thacker, the monster no longer signifies a threat to be contained or a figure of liberation (as with Donna Haraway’s cyborg), but a symptom of epistemic rupture—an unraveling of the categories through which the world becomes intelligible. The exhibition thus does not propose a dystopian or utopian future; rather, it conveys the uncanny illegibility of a present that results from the non-reciprocal encounter between human cognition and computational logics. To convey the fragility of the human subject in a posthuman age, the exhibition expands cinematic principles—duration, ...

Gala Porras-Kim’s “The categorical bind”

Gabrielle Schwarz

Sprüth Magers

A commercial gallery might seem an unlikely context for the work of Gala Porras-Kim. Over the past decade, the artist has made her name as a practitioner of a particular kind of institutional critique: one that explores, and imagines alternative possibilities for, the relationships between museums and the objects in their collections. Her focus is not the art industry, with its rapid cycles of production and exchange, but rather those places that claim to act as more-or-less permanent stewards of historical and cultural artifacts. Often she works directly with the institutions themselves.

YAZ Publications

Pramodha Weerasekera

Sharjah Biennial

Zeynep Öz, one of the five curators of this year’s Sharjah Biennial, describes YAZ, the thirteen artists’ books that form part of her contribution to the exhibition, as “serious play.” Developed in collaboration with designer Okay Karadayılar, the books are individual and collective playgrounds in which sixty contributors experiment with the possibilities of the book form. These paperback pocketbooks each run to between 100 and 150 pages, follow a color scheme of white, purple, and mauve, and offer a platform for diverse reflections on the theme of home, memory, displacement, and technological change.

Hana Miletić’s “Desire Lines”

Chris Murtha

Magenta Plain

Although her practice is rooted in photography, Hana Miletić’s first solo exhibition in New York contains no images. Instead, the eight handwoven textiles adorning the walls of the gallery are convincing recreations of ad-hoc repairs and temporary structures the artist photographs as she traverses urban centers—in this case, the surrounding Chinatown neighborhood. Above the reception desk, for example, hangs a looped, twisted, and knotted necklace of woven caution tape that may prompt viewers to proceed with heightened awareness.

Nina Porter’s “My Proteins”

Maddie Hampton

Theta

Porter's attention to materiality carries over to the constellation of spherical wooden cameras dotting the floor at the back of the gallery. They have never been used, but are instead inscribed with a date in the future on which Porter, contractually, will fill the orb with photosensitive paper and make an image. In an almost perfect inverse of the images hanging on the gallery walls, the cameras promise a future human connection, so long, that is, as they are properly cared for. So long, that is, as both parties—artist and collector—are present to fulfill the contract, a fact that looms ...

Notes

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 16, 2025

Diseuse

By Theresa Hak Kyung Cha

June 18, 2025

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

By Sonya Vseliubska

June 13, 2025

How to Research Like a Dog

By Aaron Schuster

June 9, 2025

The Sun is Burning the Unspoken: A Conversation

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