Starting from its title, Kirchgängerbanger, Slavs and Tatars’ exhibition at ar/ge kunst in Bolzano is inspired by Johann Georg Hamann, a German philosopher and prominent figure of the Counter-Enlightenment, known for his cryptic use of language, irony, wit, and juxtaposition of the vernacular with faith.
In Yinchuan, the urgency was to tackle the idea of the environment, a theater of the wind. Together with the curatorial team, we decided to focus our attention on the eastern border of China, given that the history of this extensive territory originated here and that futuristic, megalomaniac plans, such as the One Belt One Road, are moving the barycenter back to this region.
If there is any thematic thread that runs through his body of work shown here, spanning half a century, it is an agile, amorphous style of creating something out of thin air—giving substance to what is not there.
How do technological advancements change what society does with images, their production, consumption, perception, and reception? In this conversation, they delve deep into the analysis of the transformations of our viewing behaviors on the complex modern visuality that shapes the social, political, and cultural aspects of our world.
In this issue: Rahel Aima, American Artist, Noah Barker, Tenzing Barshee, Ericka Beckman, Andrew Berardini, Dara Birnbaum, Zach Blas, Jay Chung and Q Takeki Maeda, Paul Clinton, Nick Currie on the new picturesque, Fredi Fischli and Niels Olsen, Hendrik Folkerts, Lynn Hershman Leeson, Hettie Judah, Bouchra Khalili, Kris Lemsalu, Ghislaine Leung, Alvin Li, Kate Newby, Gladys Nilsson, Ulrike Ottinger, Kari Rittenbach, Emanuel Rossetti, Chris Sharp, Aliza Shvarts, Ross Simonini, Mitch Speed on the anti-power of the found object, Sabrina Tarasoff on Beyond Baroque Literary Arts Center, Milan Ther, Ana Teixeira Pinto on futurisms, Raphaela Vogel, Wendy Vogel, Shen Xin, Emily Watlington, Rose Wylie and Roy Oxlade, Women’s History Museum, and more.