Stockholm Design Week guest of honour Formafantasma has created Reading Room, an installation at the Swedish furniture fair that uses "minimal resources".
Bringing together art and science to reanimate soil and transform how we connect with its inhabitants, this engaging new collaboration sees London based artist Iman Datoo undertake a three-month residency with the University of Exeter’s Environment a
Annie Sprinkle and Beth Stephens will be at Performance Space New York on Thursday, June 14; Friday, June 16; Saturday, June 17; and Sunday, June 18 for their "Exploring the Earth as Lover: Ecosex and the City" symposium.
MOTHERHOOD IS TRENDING in the art world—a renaissance, if you will, not seen since . . . well, the Renaissance. Long considered a career liability for young artists and art workers, motherhood has been embraced as a topic by women who are having children at an older age, after achieving some level of professional success—as seen in recent works by Camille Henrot, Tala Madani, and Laurel Nakadate. The motif has multiplied in thematic exhibitions with such imaginative titles as “Mothering” (Museo Universitario Arte Contemporáneo, Mexico City, 2021–22), “Mother!” (Louisiana Museum of Modern Art,
If in the Chthulucene reality is constructed from the simultaneity of various interactions between beings and objects, architecture certainly plays a part in that relationship.
A REDDIT USER POSTS, “My mom told me to unalive myself because I am gay.” The thread responds (and I paraphrase, slightly): “Your egg donor sucks and doesn’t deserve the term ‘mom.’” To unalive yourself is to allow the forces of oppression to remove you from life. Algospeak neologisms are coined to avoid AI censorship; sublimation produces a new sign. The death drive merges with the life instinct to create a new condition: unaliving. Not the opposite of “liveness,” as in the TV era’s distinction between the prerecorded and the happening-now—we are way past that after two years of nonstop Zoom
THROUGHOUT THE TWENTIETH CENTURY, modern and contemporary art in the West sought either to cheat history or to travesty it. To cheat history is to outrun it in gestures aimed at utopian schemes (as envisioned by Suprematism or the artists of De Stijl) or dystopian destruction (as in Futurism or some variants of Dada). Among modernist avant-gardes, history offered a necessary dialectical framework for its own supersession—this is why the rhetoric of revolution remains so appealing and ubiquitous in accounts of modern art. Paradoxically, this legacy has been codified or canonized (and certainly