Conceived and curated independently, these two parallel exhibitions—Franz Erhard Walther’s first in the Mexican and Latin American context—beautifully complement each other. One takes over the top floor of the David Chipperfield–designed Museo Jumex in the industrial district of Nuevo Polanco; the other is staged amid the clutter of Casa Luis Barragán, the final residence and studio of the revered Mexican architect, situated in the working-class Tacubaya neighborhood of Mexico City.
Presented on the occasion of the Museion’s tenth anniversary, Somatechnics: Transparent Travelers and Obscure Nobodies, curated by Simone Frangi, is conceived as a theoretical system to deconstruct hegemonic imaginaries of race and gender.
“What is it that I actually believe in? What is it that I actually live for? How are my practices, daily habits, and rituals in service of that, or how do they go against it?” These questions are the starting point for the conception of Evan Ifekoya’s show, Ritual Without Belief, currently on view at Gasworks. In her first solo exhibition in London, the artist presents a sound work and an installation investigating the topics of polyvocality, subjectivity, authorship, and collaboration within a group of young, black, queer, female/non-binary artists committed to envisaging a system that can become a community resource after the exhibition.
While on the one hand the contemporary political scene has made the nuclear nightmare new again, the War Games proposed by Martha Rosler and Hito Steyerl in their new exhibition at Kunstmuseum Basel reflect the pitfalls of a war fought in the folds of media and technology in the present.
In her work Husni-Bey slowly gets to the heart of questions about which she feels deeply, such as civil disobedience, physical pain, the right to public space and the freedom of the body, to self-determination, to failure.