Slavs and Tatars

Tell a joke and shame the devil: 33rd Ljubljana Biennial of Graphic Art

by Vladimir Vidmar

Plagued by problems direr and darker than ever before in history, and more disillusioned than ever, we turn to our everyday to find fragments of inspiration that could potentially ignite the spark of change. Such is this case with the 33rd Biennial of Ljubljana, entitled Crack up, Crack down, where its curators, the artist collective Slavs and Tatars pose a question: In the era of post-truth, can a joke set us free?
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Dak'Art 2018

Getting INto Dak’Art 2018

by Kara Blackmore

The 13th edition of the Dak’Art Biennial explores the contingencies of exhibition-as-novel, the curatorial approach taken by its Artistic Director Simon Njami. Known as one of the luminaries of the contemporary African arts and the founder of Revue Noir, Njami often positions himself as a writer, aspiring to emphasize a narrative thread and literary rhythm of the exhibitions he undertakes…
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documenta 14

The Art of the Possible: With and Against documenta 14

by Andrew Stefan Weiner

The obvious reason that some critics have cast Szymczyk and his team as morally superior “social justice warriors” is that it is much easier to fling stereotypes than it is to work through the complex implications of the fundamental message that this documenta means to communicate. At the core of this sprawling, wildly ambitious, sometimes incoherent, but certainly worthwhile exhibition lies a deceptively simple proposition: that art can and should serve the cause of justice, but not always in the ways we might expect.
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Kathmandu Triennale

Making Place: a report on the first Kathmandu Triennale

by Zeenat Nagree

Outsiders occupy a unique position to look in, to observe or to critique. Patterns and characteristics that are unrecognisable or even irrelevant to insiders come to the fore; insights gained and buried layers exposed. Such encounters are commonplace in the art world, unremarkable almost. Yet, the depth and complexity brought by these encounters deserves particular attention when they involve artistic transactions, sites of visibility, and history writing – occurring in the context of large exhibitions, such as biennials or triennials.
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Winter in America: The 2017 Whitney Biennial

by Andrew Stefan Weiner

It might be that some degree of controversy at the Whitney Biennial is inevitable, given its oft-stated ambition to somehow “take the temperature” of contemporary American art. Yet to agree to this objective is first of all to admit that such a thing is even possible and furthermore that it is desirable, when in fact neither of these points is exactly self-evident. Why shouldn’t some Biennials be more limited and thematic, rather than comprehensive?
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5th Singapore Biennale

The fifth edition of the Singapore Biennale: It could be worse

by John L Tran

The nine conceptual zones, which include explorations of cultural identity, post-colonialism, agency and psychogeography, are a love letter to critical thinking. With titles like A Presence of Pasts and A Somewhere of Elsewheres it has to be said that the letter is written in purple prose, and a little overdetermined, but still – not bad for an art festival in a country that has draconian gum laws.
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