Video / Film

Unflinching Facades: New Work by Carolina Borja and Jesse Matthew Petersen at Soo Visual Arts Center

Carolina Borja. Lucha, 2017; collage and acrylic; 12 x 10 in. Courtesy of Soo Visual Arts Center, Minneapolis.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Camille Erickson reviews Unflinching Facades: New Work by Carolina Borja and Jesse Matthew Petersen at Soo Visual Arts Center in Minneapolis. In[…..]

Richard Mosse: Incoming at the Barbican

Richard Mosse in collaboration with Trevor Tweeten and Ben Frost. Incoming, 2017; Installation view. The Curve, Barbican Centre, 15 Feb - 23 April 2017. Photo: Tristan Fewings / Getty images

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Eva Mak reviews Richard Mosse: Incoming at the Barbican in London. No matter race, age, origin, or legal status, while the human[…..]

Cecilia Vicuña: About to Happen at Contemporary Arts Center New Orleans

Cecilia Vicuña. Precarios, 1966-2017; site-specific installation of 117 found object sculptures (stone shells, glass, wood, plastic, debris). Courtesy of the Artist and the Contemporary Arts Center New Orleans. Photo: Alex Marks

For the Chilean-born visual artist, poet, and filmmaker Cecilia Vicuña, the textual and the visual exist and function together in a familial relation, as if the making of objects and the shaping of words into images are knotted together like threads, binding and weaving themselves to form reified constellations that speak of the individual and collective simultaneously.[1] Vicuña’s work has a rich engagement with the[…..]

Derrick Adams: Network at CAAM

Derrick Adams. Fabrication Station #8, 2016; mixed fabric collage, aluminum hanging rods; 6 x 9 ft. Courtesy of the California African American Museum. Photo: Andy Romer.

Recently many have observed that current American film and television scenarios feel familiar, with offerings that appear diverse and multicultural, as they would have seemed in earlier decades. This is not to say that the struggles of marginalized communities have been overcome; just because a person is visible does not mean that person is liberated. However, media representations can illustrate experiences outside of dominant cultural[…..]

Meat Is Murder

Soukaina Joual. Halal, 2016; light panel; 13.7 x 13.2 in.

Today from our friends at REORIENT we bring you Zöe Hu’s article on artist Soukaina Joual. Hu says of Joual’s exploration of meat as a subject, “Meat’s link to violence is an easily made one, and it only takes the viewer another thoughtless step forward to affix the MENA region onto that relationship; but Joual avoids the obvious constellation of meat–violence–Arab world, instead tinkering with a[…..]

Dread Scott: Past, Present & Future at Guerrero Gallery

Dread Scott. A Man Was Lynched by Police Yesterday, 2015; embroidered nylon; 84 x 52.5 in. Courtesy of the Artist and Guerrero Gallery, San Francisco.

Dread Scott has a long history of creating provocative works that address the hypocrisies and injustices within the United States. Unfortunately, his extremely sparse solo exhibition, Past, Present & Future at Guerrero Gallery, underwhelms. Spread between the main gallery and the project space, the show presents three very commanding works that span a thirteen-year period. Scott’s exhibition feels like a local display of highly publicized[…..]

Ho Tzu Nyen

Today, from our friends at Kadist, we bring you a video interview with Singapore-based artist Ho Tzu Nyen. The artist speaks about their interest in transience, metamorphosis, migration, and the correlation between renaissance painting and their contemporary video work. He reflects on his interest in tracking clouds, stating “this, for me, is a way of tracking an art-historical motif which migrates from the East to the West or[…..]