For me, it is important in every work to be a betrayer, to not be loyal to my ideas. Otherwise you become a designer. And sometimes you have to surprise yourself. I cannot make a setting and stick to it, because I get stuck in it.
Saim Demircan finds that working remotely has given rise to new ways to think about accessibility, labour and authorship
Perhaps the absence of the artist commits a final act of anti-objectification, eschewing the prerequisite in the art world to be ‘everywhere’ at all times.
Chris Hayes argues that, despite its faults, social media can still be used a tool against powerful vested interests
Part of what fascinates me about the art world’s use of Instagram is this tension: how fluidly a vernacular of call-outs and accountability, calls to defund and abolish, are adopted and performed on platforms that are easily dismissed and rarely carry any stakes.
Larne Abse Gogarty tugs at the cultural references of the London-born artist also known as free.yard
Farah offers a way of negotiating nostalgia, sentiment and universality while asking viewers to negotiate their own particularities of class, race and history.
Why do cultural agencies persist with stifling bureaucratic language that acts as a barrier to non-corporate voices?
When applying for a grant, for example, the first test of eligibility appears to be whether the applicant can understand and negotiate – digest – the sheer quantity of verbiage required in the process.
University lecturers go on strike at the Royal College of Art and Goldsmiths; Cuban artist Tania Bruguera agrees to political exile in return for the release of activists; Manchester’s Centre for Chinese Contemporary Art restructures in response to accusations of institutional racism; Unesco finally recommends that the Parthenon Sculptures be returned to Greece; plus the latest on galleries, people, prizes and more.