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ArtReview’s 21st edition of the Power 100 list will be announced at 00.01 (GMT) on Thursday 1 December – and published in the December issue
Art in the Fukushima Exclusion Zone
I wrote about Hettie Judah's new book 'Lapidarium' - "a jumbled collection of lithic curiosities" - and why the art world has gone crystal crazy, for @ArtReview_…
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What makes contemporary art’s relation to ‘the contemporary’ more than symptomatic?
Stan Burnside and Tavares Strachan: “We get to make meaning”
I reflected on ten years of Candy Crush Saga for @ArtReview_, with nods to Natasha Schüll on machine gambling, addictive design, and why the story of 'free to play' should also incorporate gamified social media.…
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Can Digital Benin reconnect future Nigerians with their history?
Why contemporary art is on the rocks
What’s it like to be a Biennale?
Now in its tenth year, the sugary sweet mobile game has proven a killer app for an era of rising technological addiction
Suhanya Raffel has been appointed as president of International Committee for Museums and Collections of Modern Art (CIMAM)…
Mariane Ibrahim is to open a third gallery space in February 2023, in Mexico City
How ‘Candy Crush’ trapped us in the Machine Zone
The Lebanese-born, Paris-based architect Lina Ghotmeh will design the 22nd Serpentine Pavilion, unveiled in June 2023
From our networks: The #AlUlaArtistResidency invites 6 artists, local & international, to collaborate with the local community and nurture their practice. The residency is an initiative of The Royal Commission for @ArtsAlUla in partnership with @AF_ALULA
Wrote about the problems with the Ana Mendieta podcast Death of an Artist for @ArtReview_…
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The ever-protean Wolfgang Tillmans
Artworks – finally open to select visits from the public – highlight the shifting, even vivacious, nature of the Fukushima exclusion zone’s landscape
ArtReview’s 21st edition of the Power 100 list will be announced on at 00.01 (GMT) on Thursday 1 December – and published in the December issue
Death of an Artist cannot seem to move beyond treating the past as a theatre of trauma
Grace Ndiritu has been announced as the winner of the 2022 edition of the Jarman Award
A long-awaited survey at @MuseumModernArt finds Wolfgang Tillmans looking both outward – to the world’s constituent elements – and inward to photography itself
Ana Mendieta deserves better than a true-crime podcast
The ever-protean Wolfgang Tillmans
Workers at art and cultural institutions are discovering that unions aren’t just for hard-hats
Reflections on Guantánamo, this year’s Berlin Biennale controversy, and the artworld’s tendency for shallow political consciousness
Art in the Fukushima exclusion zone
Can Digital Benin reconnect future Nigerians with their history?
Return to Mark Rappolt’s review of the 59th Venice Biennale, which closes this week
For all the covetable coffee-table books about women artists, few offer us anything truly original, or truly feminist
How do you capture something as slippery as memory? Moving-image documentarians have turned to animation
‘To treat artists who are women as separate, as unable to withstand real criticism, or as props to a larger narrative, perpetuates the divide between them and the artists who do not need a gender qualifier in front of the word.’…
Within academia and the artworld, there has been a lack of recent critical engagement that offers anything beyond the ‘Look, I found her!’ trend in writing art history, @eliza_g96 argues.…
Women artists are trendy, writes Eliza Goodpasture – from the art market and Instagram posts to Frida Kahlo dolls and covetable coffee-table books. Yet, needless to say, little of this moment offers us ‘anything truly original, or truly feminist’.…
Twitter’s disappearance will not make for the end of this kind of power, only some of the compensations for it.…
The platform offers a field for participating in an authoritarian epistemology, a way of knowing that made supporting its protocols prerequisite for experiencing a sense of relevance.…
People use Twitter not so much to ‘express themselves’ but to experience domination in a seemingly locatable way, Rob Holding explains, to know it as concretely real and thereby have a chance at making a kind of vicarious peace with it.…
Digital Benin is not a pro-restitution platform ­– and some unresolved quandaries remain – but the process of return will surely accelerate
Twitter may not be dead yet. But ‘Social Media’ is
I wrote this about the problem with the ‘Look, I Found Her!’ trend in feminist art history for @ArtReview_…
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Today 5pm GMT/12pm EST! RSVP via to receive the Zoom link or follow the live stream here:… @WhaleSharkETH @sydney_xiong #DSLcollection…
Jenny Holzer will receive the Whitechapel Gallery Art Icon award in January 2023
The problem with the ‘Look, I Found Her!’ trend in art history
Wrote about John Currin's sick spirit (and why his paintings are so gross and so good) for @ArtReview_…
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A guide to unionizing the artworld
Ana Prata’s tiny phenomena
Can Digital Benin reconnect future Nigerians with their history?
'What will art patronage mean in the context of decentralisation?' Join Sylvain Levy, @WhaleSharkETH and @sydney_xiong tomorrow 5pm GMT for an online panel moderated by @jjcharlesworth_, in partnership with @apenftorg RSVP via [email protected]…
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