Video / Film

Freestyle: Interview with Rashaad Newsome

Rashaad Newsome. King of Arms, 2013 (performance still); live procession in City Park, New Orleans. Courtesy of the Artist. Photo: Jena Cumbo.

Today, from our friends at Guernica, we bring you curator Laura Blereau in conversation with artist Rashaad Newsome. Newsome says, “I’m playing with gender and roles that are shifting as this elaborate allegory for transformation. The body can change. That’s ultimate emancipation, to just completely change your body, to change your physicality.” This article was originally published on March 17, 2014. Guernica: The kind of art that you create[…..]

Question Bridge: Black Males in America

Question Bridge: Black Males in America (Aperture/Campaign for Black Male Achievement, 2015)

Today we bring you an excerpt from Art Practical’s Printed Matters column. Roula Seikaly reviews Question Bridge: Black Males in America, the published companion to a project, platform, and installation that regards identity and representation. Seikaly notes, “Asking a question […] can be difficult; it can imply lack of knowledge and experience, rendering the asker vulnerable. No one wants to be caught out, least of all when the questions address identity, community, and most urgently,[…..]

Five Emerging Artists from Bangladesh

Rasel Chowdhury. Railway Longings, 2011-2015. Courtesy of the Artist, Dhaka Art Summit, and Samdani Art Foundation. Photo: Jenni Carter

In Bangladesh, the 2016 Samdani Art Award exhibition (one of seven shows that was part of the Dhaka Art Summit) provided a survey of some of the most engaging young artists working there. Daniel Baumann, director of Kunsthalle Zürich, selected thirteen artists from over 300 applicants. In his introduction to the show, Baumann wrote that he had the sense that “something was going on there”[…..]

Interview with Beatriz Santiago Muñoz

Today, from our friends at Kadist, we bring you the first video in a two-part interview with Beatriz Santiago Muñoz. Michele Fiedler talks with Muñoz about Ojos Para Mis Enemigos, a piece done in collaboration with Pedro Ortiz exploring an abandoned military base in Puerto Rico, the displacement of families as a result of the base’s construction, and her project Prisoner’s Cinema. Watch the second part of this interview here. This[…..]

Interview with Mariah Garnett

mariah_garnett

Today from our friends at BOMB Magazine, we bring you an interview with Mariah Garnett. Author Risa Puleo speaks with Garnett about her time in Belfast, the making of the film/exhibition Other & Father, and the roles of identity and failure in her films. Garnett says, “That was one thing I was interested in for the film: the way identity is constructed and history is performed,[…..]

From Minimalism into Algorithm at the Kitchen

From Minimalism into Algorithm, Phase 2; 2016; installation view, The Kitchen. Featuring works by John McCracken, Zoe Leonard, Andrea Crespo, and Cheyney Thompson. Courtesy of The Kitchen. Photo: Jason Mandella.

In a 1966 review, Rosalind Krauss described how one of Donald Judd’s “progression” wall reliefs pulled the rug from under her. Its intervallic sequence of supporting members suggested a Renaissance colonnade, but its variable spacing negated the compositional and spatial logic that this model prepared her to expect. “The work itself exploits and at the same time confounds previous knowledge to project its own meaning,”[…..]

Unbreakable: Interview with Larissa Sansour

Larissa Sansour and Søren Lind. In The Future, They Ate from the Finest Porcelain, 2015 (film still). Courtesy the Artists and Lawrie Shabibi.

From our friends at REORIENT, today we bring you an interview with Palestinian video artist Larissa Sansour. Author Abdellatif R. Abdeljawad talks with Sansour about rewriting histories, science fiction as a vehicle to explore the Palestinian condition, and the inherent political nature of art. Abdeljawad says of Sansour’s most recent work, In the Future, They Ate from the Finest Porcelain, on view at Lawrie Shabibi in Dubai through March 3: “Sansour’s film (made in[…..]