Issue 183
Nov - Dec 2016

With features on Rasheed Araeen, Matthew Brannon, and Anne Imhof; a survey of art, class and precarity; and a look at how a group of emerging female artists is exploring femininity as a marketing construct.

Also: associate editor Paul Clinton interviews queer theorist Didier Eribon; and co-editor Dan Fox explores the social and emotional complications of class in the art world; Rosanna Mclaughlin explores Beatrice Loft Schulz, Samara Scott, Amalia Ulman and Holly White’s depictions of "girliness" as consumer paradigm and sexual fantasy; and Sean O’Toole discovers poetry and social practice in the performances of Congolese choreographer Faustin Linyekula.

From this issue

The award-winning dancer and choreographer reveals plans to fund a water-treatment facility in the Congolese city of Kisangani

BY Sean O'Toole |

The second of three articles exploring art, class and precarity: an interview with writer and sociologist Didier Eribon

BY Paul Clinton |

The first of three articles exploring art, class and precarity: a range of artists, curators and writers explore how class shapes art-making today

George Pendle looks at the artist's ambitious new body of work tackling the Vietnam War

BY George Pendle |

With the death of Gawker and the rise of Trump, free speech is under threat

BY Christy Lange |

Contemporary Art Centre, Vilnius, Lithuania

BY Krzysztof Kościuczuk |

Beatrice Loft Schulz, Samara Scott, Amalia Ulman and Holly White explore 'girliness' as consumer paradigm, sexual fantasy and economic necessity

BY Rosanna McLaughlin |

Dan Fox explores the complication of class in the art world

BY Dan Fox |

La Tallera, Cuernavaca, Mexico

BY Dorothée Dupuis |

Q. What should change? A. Everything: that's just how the world is

BY Zeng Fanzhi |

Pablo Larios on the versatile performances of Anne Imhof

BY Pablo Larios |

Grand Union & Millenium Point, Birmingham, UK

BY Tom Emery |

Tim Smith-Laing talks to Rasheed Araeen about six decades of art making, writing and publication

BY Tim Smith-Laing |

The books that have influenced the publishing collective

BY ATLAS Projectos |

Ibirapuera Park, Brazil

BY Dan Fox |

The history of ‘other’ cinema stretches from the explosion of film as a popular art in America to the late 1940s, when integration began, haltingly, in Hollywood and in popular culture


BY Nick Pinkerton |

Trouble in the museums and presidential palaces of Vienna

BY Matthias Duisini |

Central Mexico is leading the country’s rapidly developing and internationally engaged art scene 

BY Evan Moffitt |

Donna Haraway takes on the Anthropocene

BY Robin van den Akker |

Two years on, Hong Kong’s mass pro-democracy demonstrations continue to reverberate

BY En Liang Khong |

Richard Telles Fine Art, Los Angeles, USA

BY Jonathan Griffin |

Why bother with art prizes or residencies?

BY Daniel Baumann |

What's so great about authenticity?

BY Olivia Laing |

In praise of oral history

BY Negar Azimi |

Kunsthalle Mainz, Germany

BY Kate Sutton |

Marilyn Monroe and drone warfare

BY David Birkin |

Galerie Peter Kilchmann, Zurich, Switzerland

BY Aoife Rosenmeyer |

Galerie Neu, Berlin, Germany

BY Louisa Elderton |

Timothy Taylor, London, UK

BY Orit Gat |

Various venues, Berlin, Germany

BY Mitch Speed |

Fondazione Prada, Milan, Italy

BY Vincenzo Latronico |

House of Gaga, Mexico City, Mexico

BY Kim Córdova |

Mitchell-Innes & Nash, New York, USA

BY Evan Moffitt |

TheCube Project Space, Taipei, Taiwan

BY Kit Hammonds |

Kukje Gallery, Seoul, Korea

BY Harry Thorne |

Kiran Nadar Museum of Art, New Delhi, India

BY Shanay Jhaveri |

Kunsthaus Zurich, Switzerland

BY Ara H. Merjian |

MASS MoCA, North Adams, USA

BY Matthew Erickson |

Herald St, London, UK

BY Matthew McLean |

Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain

BY George Stolz |

Pilar Corrias, London, UK

Various venues, The Hague, the Netherlands

BY Paul Carey-Kent |

Dulwich Picture Gallery, London, UK

BY Laura Smith |

James Fuentes, New York, USA

BY Tim Gentles |

Holmwood House, Glasgow, UK

BY Chris Sharratt |

FLORA ars + natura, Bogotá, Colombia

BY Jennifer Burris |

TarraWarra Museum, Australia

BY Sophie Knezic |

Power Station of Art, Shanghai, China & Big Tail Elephant Group, Guangdong Times Museum

BY Carol Yinghua Lu |

Stevenson Gallery, Cape Town & Johannesburg, and blank projects, Cape Town, South Africa

BY Ian Bourland |

El Museo del Barrio, New York, USA

BY Amy Zion |