Kaelen Wilson-Goldie’s Beautiful, Gruesome, and True
              Orit Gat
              “What can you say about violence except that it should not happen?” asks Amar Kanwar. Writing from a conviction that art matters in the face of the “forever wars of our time,” art critic and journalist Kaelen Wilson-Goldie explores the works of three artists: New Delhi–based Kanwar, Mexican artist and activist Teresa Margolles, and Abounaddara, a collective of filmmakers who released weekly videos online from the beginning of the Syrian Civil War showing the realities of life under the regime. In making art, Wilson-Goldie argues, each found a space in which to reflect on the politics of the places they are from in ways that go beyond the documentation of violence, to transformative effect. In her chapter on Abounaddara, Wilson-Goldie follows the collective in showing how life in wartime is shaped by conflict but, crucially, not wholly defined by it. The work of Kanwar, meanwhile, offers an example of how art can engage with popular struggles over labor rights, land, and resources. He’s been returning to the Indian state of Chhattisgarh ever since labor activist Shankar Guha Niyogi was murdered in 1991, on the day before Kanwar had arranged to film him. Writing about Margolles, Wilson-Goldie starts with her work ...
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