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e - flux Announcement May 15, 2024
e-flux
Municipality of Milan
MU—MUDEC United
e - flux Announcement May 15, 2024
e-flux
PODO Museum
Perhaps Sunny Days
e - flux Announcement May 15, 2024
e-flux
Kunstmuseum Magdeburg
Sanja Iveković, Ulrike Rosenbach, Gabriele Stötzer
Outrageously Rebellious
e - flux Announcement May 15, 2024
e-flux
Vleeshal
Agnieszka Brzeżańska, Ewa Ciepielewska and HUNITI GOLDOX: On Water, Flow and
Warped Time
e - flux Announcement May 15, 2024
e-flux
Frac Sud—Cité de l’art contemporain
Endeavours and Masterpieces
e - flux Announcement May 15, 2024
e-flux
The George Economou Collection
Dana Schutz
The Island
e - flux May 15, 2024
Agenda
Fundação Casa de Mateus
Manuel Casimiro
Nonexistent Mountains
e - flux May 15, 2024
Agenda
Pine Meadow Ranch Center for the Arts & Agriculture
Open call for artist-in-residency program 2025
e - flux May 15, 2024
Agenda
Aperture Magazine
Avion Pearce: 2024 Aperture Portfolio Prize Winner
e - flux Architecture May 15, 2024
Architecture
Bauhaus Earth  / Experimental
Open call: Bauhaus Earth Fellowship Program
e - flux Education May 15, 2024
Education
University of Saskatchewan Art Galleries and Collection
The Structurist Creative Research Fellowship
e - flux Announcement May 14, 2024
e-flux
Mediterranean Albert Camus Prize
Alfredo Jaar wins 2024 prize
e - flux Announcement May 14, 2024
e-flux
Nuit Blanche
Polygonal/e
e - flux Announcement May 14, 2024
e-flux
Art Explora
Art Explora—Académie des beaux-arts European Award 2024
e - flux Announcement May 14, 2024
e-flux
Blaffer Art Museum at the University of Houston
Gabriel Lester
Odeon
More

Criticism


1st Klima Biennale Wien
Aoife Rosenmeyer

To quote the organizers, the overarching idea of the biennial is to spur “the
paradigm shift toward a livable and sustainable future on our planet. The key
tools to achieve this objective are, without doubt, participation,
collaboration, and awareness.” [It] tries to set an example for making and
visiting exhibitions by minimizing shipping, and commissioning projects that are
locally informed and realized; where one installation was marred by wrinkled
vinyl, the images were not reprinted to save materials, for example. Yet I found
myself questioning what role artists have in the whole endeavor.

24th Biennale of Sydney, “Ten Thousand Suns”
Harry Burke
Biennale of Sydney

Since the highly contested survey “Magiciens de la terre” at Paris’s Centre
Pompidou in 1989, reflections on globalization, and efforts to shift this
paradigm, have been a feature of the biennial circuit. “Ten Thousand Suns” seems
to tack away from the global as an organizing principle and to search for other
ways of describing space, at once more fragmentary and more pluralistic.

Vija Celmins’s “Winter”
R.H. Lossin
Matthew Marks Gallery

Vija Celmins’s latest show is at once an invitation to marvel at the perfect
copy and to contemplate copying itself. The heavy rope that seems to hang down
from the gallery ceiling is, in reality, a stainless-steel sculpture extending
up from the ground (Ladder, 2021–22). Its adjunct, another piece of painted
steel, Rope #2 (2022—24) sits coiled on the floor, playing its role as a fiber
weave with equal conviction.

60th Venice Biennale, National Pavilions
Jörg Heiser

The transformation of the Polish Pavilion from a horror show into something
closer to a miracle is a remarkable story. Last year, a jury predominantly
aligned with the country’s ruling Law and Justice (PiS) party selected painter
Ignacy Czwartos, whose nationalist-realist paintings support the right-wing
narrative of Poland as a martyr of German and Soviet occupation absolved of
complicity in Nazi-era crimes, to represent the country. After the Polish public
voted out PiS, the decision was reversed.

60th Venice Biennale, National Pavilions
Kim Córdova

In contrast to ruangrupa’s challenge to basic capitalist imperatives at
Documenta 15, the international exhibition of the 60th Venice Biennale failed to
match an inclusive selection of artists with a comparable reimagination of the
format in which they are exhibited. By importing the Global South to Venice on
terms set by the Global North, it leaves the task of a radical intellectual
response to the overarching theme of “Foreigners Everywhere” to the national
pavilions.

18th Adelaide Biennial of Australian Art, “Inner Sanctum”
Vivian Ziherl
Adelaide Biennial of Australian Art

The exhibition is far from polemical: its emphasis lies squarely on artistic
practice and the interior lives of artists. Through unexpected choices and
combinations, in a presentation that spans two levels of the gallery and
incorporates a number of collection interventions and public space projects,
curator José Da Silva brings together works from vastly disparate traditions
under the unifying thematic “Inner Sanctum.”

While we still can
The Editors

First of all, power to the students. Images of armed police storming campuses in
order to evict peaceful demonstrators on the invitation of administrators whose
primary responsibility is the protection of academic freedoms hardly need
parsing for meaning here, except to point out that these are merely the most
visible expressions of a wider crackdown. But a couple of details might warrant
the closer kind of attention that publications devoted to art criticism might
usefully provide.

Ben Rivers’s Collected Stories
Maria Dimitrova

Far from being exercises in ekphrasis, many of these stories depict
self-contained worlds—from a fairy tale queen giving birth to a beastlike son in
Marina Warner’s “Blindsight” to an extinct civilization of children depicted in
Chloe Aridjis’s “Codex”—that no more than hint at Rivers’ cinematic universe.
What appears as a compendium of standalone fables, essays, and poems emerges as
a complex portrait of Rivers, formed around the shape of his absence.

Xiyadie’s “Butterfly Dream”
Stephanie Bailey
Blindspot Gallery

Train (1985–86) recounts one of Xiyadie’s first sexual encounters with a train
attendant while en route to Xi’an. Mounted on black velvet, a large, square
image plane is defined by a central train carriage in which an arched-back
Xiyadie, whose naked body is covered with flowers on leafy vines, falls into the
arms of his uniformed paramour. 

Journal


Issue #145
May 2024
Editorial Ghoncheh Ghavami and Bahar Noorizadeh
To Summon Life in a Cemetery Nahal Nikan
When Silence Is Broken and Voices Ring Out Arnavaz
Heads Without Headscarves Negar Hatami
Cleansing Personal Archives and the Birth of the Black Hole of Collective Memory
Elaheh
A Struggle for Everyone Shouka Alizadeh and Goli Baharan
A Power from Within Nuzhan Didartalab
Jina, the Moment of No Return Aram
Inflection Points of a Pluralist Feminist Revolution Parva
Why Is Maho Our Symbol? Dasgoharan
Download PDF
Issue #144
April 2024
Editorial Daniel Muzyczuk
Yes, But Is It Edible? Robert Ashley
Throat on Brain: Magic and the Art of Memory in Robert Ashley’s Operas Michał
Libera
a voice in my brain rolled up on skeins in cells Alice Notley in conversation
with Daniel Muzyczuk
Ten Lessons in Clairaudience Daniel Muzyczuk
On Being Porous Kimberly Alidio
Singing the Zahir Away: Lucier Meets Borges Alessandro Bosetti
Pages Full of Words Ben Vida
Synthetic Exercises Andrius Arutiunian
Download PDF
Issue #143
March 2024
Editorial
Twenty-One Sunsets Oraib Toukan
On Paralysis, Part 2 Evan Calder Williams
Will AI Remember the Days of Slavery? Charles Tonderai Mudede
The Oikos of the Earth, the Nomos of the Black Hole Antonia Majaca
Counterinsurgent: Cop City, Abolition Ecology, and the Aesthetics of
Counterreform T. J. Demos
The Greatest Distance Between Two Points Is a Straight Line Claudio Medeiros and
Victor Galdino
Let’s Call It Art! Luis Camnitzer
Download PDF
Architecture


e - flux Architecture May 15, 2024
Bauhaus Earth  / Experimental
Open call: Bauhaus Earth Fellowship Program
Framing Renovation
e - flux Architecture Essays May 14, 2024
Undoing Inclusion
Nicole Kalms
e - flux Architecture May 14, 2024
Harvard University Graduate School of Design
Loeb Fellowship class of 2025
e - flux Architecture May 13, 2024
INCA
Open call: Big Tech and Counter-Technologies
e - flux Architecture May 10, 2024
Staatliche Kunstsammlungen Dresden
Design Campus 2024 and WaterSchool: A Speculation in Four Seasons
Framing Renovation
e - flux Architecture Essays May 10, 2024
A Political Taxonomy of Corviale
Rocio Calzado
e - flux Architecture May 9, 2024
Birkhäuser Verlag
To the Ends of the Earth
Framing Renovation
e - flux Architecture Essays May 8, 2024
Notes On Culinary Geoengineering
Future Foodscapes Research Unit
e - flux Architecture May 8, 2024
TU Delft Faculty of Architecture and the Built Environment
Theories of Architecture Fellowship Program
e - flux Architecture May 8, 2024
ETH Zürich
Open access ETH Studio Basel
Film

The Banana Man

Mike Kelley
May 1-31, 2024
Events


e - flux Event
Sylvain George: Screening and Conversation
May 18, 2024, 3pm
e-flux Screening Room
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e - flux Event
CineClub at Bar Laika
May 20, 2024, 9pm
Bar Laika by e-flux
e - flux Event
Christina Kiaer, Collective Body: Aleksandr Deineka at the Limit of Socialist
Realism
May 21, 2024, 7pm
e-flux
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e - flux Event
Mabel O. Wilson, “On the Violence of Architecture”
May 30, 2024, 7pm
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e - flux Event
Haile Gerima’s Sankofa, with Honey Crawford and Merawi Gerima
June 27, 2024, 7pm
e-flux Screening Room
Get tickets
Notes


May 14, 2024
Outbursts of Light

By Jacques Rancière
May 9, 2024
In the Name of Sovereignty: Georgia’s Second Attempt to Pass the “Foreign
Agents” Bill

By Tamta Khalvashi
May 8, 2024
How Not to Miss an Appointment with History

By Boris Buden
May 3, 2024
Marina Vishmidt, 1976–2024

By Andreas Petrossiants
April 29, 2024
Exit Interview

By Canada Choate
April 24, 2024
Welcome to the (Beast in the) Jungle

By Pietro Bianchi
April 19, 2024
Letter to the DAAD

It is an honor to be nominated for the DAAD Artist residency, organized by the
German Academic Exchange Service of which you are the director. Unfortunately, I
must reject this nomination for several reasons.

By Jonas Staal
April 17, 2024
Technological Futures: A Conversation

By Ted Chiang and Agnieszka Kurant
April 12, 2024
Theory of Eclipse

By Nathan Brown
April 10, 2024
Witnessing War(s) Amid an Ethical Double Bind: Ukraine and Gaza

By Biljana Kašić
Education


May 15, 2024
University of Saskatchewan Art Galleries and Collection
The Structurist Creative Research Fellowship
May 14, 2024
Project Anywhere
Global Exhibition Program archive 2012–23
May 14, 2024
Stuttgart State Academy of Art and Design
MFA Body, Theory and Poetics of the Performative
May 13, 2024
University of Fine Arts Münster (Kunstakademie Münster)
Professorship for Expanded Painting
May 10, 2024
Transart Institute
Final call for PhD applications
May 10, 2024
Tehran Summit / Pachinko
Speakers for Summit 2024
May 10, 2024
Verein K - Kunst, Kultur, Kommunikation
Visiting Curators Vienna 2024
May 9, 2024
School of the Art Institute of Chicago
Cameron Martin joins faculty
May 9, 2024
Staatliche Kunstsammlungen Dresden
Open call: Transcultural Academy “Unfinished Publics: Art and Democracy”
Feature
fluent
A sea change in Santander: the Praxis 2023 Study Program
Corina L. Apostol
Books


e - flux Book September 18, 2023
Navigation Beyond Vision
e - flux Book November 3, 2022
Wonderflux: A Decade of e-flux journal
e - flux Book July 26, 2022
Routes/Worlds
Elizabeth A. Povinelli
e - flux Book February 1, 2022
Accumulation: The Art, Architecture, and Media of Climate Change
e - flux Book April 15, 2020
Practicing the Good: Desire and Boredom in Soviet Socialism
Keti Chukhrov
e - flux Book April 15, 2020
Art and Cosmotechnics
Yuk Hui
e - flux Book April 14, 2020
One Number Is Worth One Word
Luis Camnitzer
e - flux Book February 1, 2018
Russian Cosmism
e - flux Book January 1, 2018
Superhumanity: Design of the Self
Projects
The Avant-Garde Museum

The history of avant-garde museology begins after the October Revolution, when
the Russian champions of new art proposed the establishment of a network of
Museums of Artistic Culture. Not much later, a group of New-York-based
modernists and Dadaists started the Société Anonyme, a collective that sought to
establish the first American museum of modern art. The successive chapters of
this story were written by the Russian Constructivist El Lissitzky, who designed
the Kabinett der Abstrakten at the Hanover Provinzialmuseum, and by the
avant-garde a.r. group, whose efforts began the International Collection of
Modern Art at the Łódź museum now known as the Muzeum Sztuki. 

Podcasts
Esteban Jefferson: MAY 25th 2020

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