“There is no curatorial passivism, any more than there is a passivist war.” Michal B. Ron reviews Maura Reilly’s book Curatorial Activism: Towards an Ethics of Curating and adds a note about the heroless politeness of the recent Berlin Biennial.
Moving across New York and San Francisco, Paris and Munich, Accra and Lagos, artist and scholar Malik Gaines’s Black Performance on the Outskirts of the Left: A History of the Impossible offers a lively and affirmative account of stage, dress, film and television, and music performance. Saadi Nikro reviews Gaines’s recently published book, discussing its many intersections of race, theatricality, subjectivity, and sexuality.
The exhibition "The Color Line: African-American Artists and Segregation" has gone a long way to illustrate the struggle for the civil rights of blacks in the USA, but at the same time, it traps the art on display in a conceptual prison. Revital Madar writes about the recent exhibition at the Musée du Quai Branly in Paris.
Following Karen Russo’s recent video work “Haus Atlantis,” which blends the genres of documentary, historical essay, and science fiction, the artist readdresses her work’s visual and textual elements in the form of a visual essay.
Built in 1931, Haus Atlantis in Bremen is a combination of patron Ludwig Roselius’ vision to restore the German racial identity by resuming the glory of ancient times, and Bernhard Hoetger’s expressionist, symbolist, and monumental architecture.
