Features
and we were dancing
Remote Access parties and Levani’s 127.1 BPM represent new, expansive ideas of the commons where queer, trans, immigrant, and disabled communities have gathered, and will gather, transgressively.
For the Reasons of Poetry: Arting in Space
FROM THE ARCHIVES: Robert Horvitz explores NASA’s Get-Away Special program, and how artists such as Lowry Burgess and Joseph McShane used the program for early experiments with artworks in space.
We Meet in a Patchwork: Landscapes and Elsewheres
In the following collaborative text, Makshya Tolbert and DJ Hellerman weave a patchwork of shared curiosity and mutual enchantment while physically re/situating themselves within the American Southeast. At the Virginia Museum of Fine Arts exhibition The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse, Tolbert and Hellerman’s bodies and spirits converge, diverge, expand.
Indicting the Poisonous Imaginary—Radha D’Souza and Jonas Staal
In 2021 D’Souza and Staal came together to stage the Court for Intergenerational Climate Crimes (CICC) at Framer Framed in Amsterdam. Described as “a more-than-human tribunal to prosecute intergenerational climate crimes” committed by Unilever, ING, Airbus, and the Dutch state, the court drew from D’Souza’s book What’s Wrong With Rights? Social Movements, Law and Liberal Imaginations.
What do we want from each other after we have told our stories
Jemma Desai’s essay “What do we want from each other after we have told our stories,” whispers abolition and points to the question: What if we say no?
Consider the Hot Dog: Ivy Haldeman on an American Icon
Haldeman’s paintings capture the way quotidian images inform how we fashion ourselves, how we move about the world. They ask, “How do we wear ourselves into becoming ourselves? And what do things, such as inanimate objects and advertisements, demand from us?
Against Confinement—On Mohamed Bourouissa’s Frames of Relation
In this expansive appraisal of the artist’s work, Bailey makes a case for the emancipatory power of images.
Berenice Olmedo—Radical Alterity and the Crip/Disabled Subject
Utilizing sculptural, performance, and social practice modes, Olmedo’s work circumvents the representational trap that is part and parcel of a reduced, oppositional framing of normative and non-normative, or able and disabled.
An Eye for An Eye — Bambitchell’s Bugs and Beasts Before the Law
Bugs and Beasts works to remind viewers that such stories aren’t simply dusty curiosities from the footnotes of history books, but practices that fundamentally shaped how we came to understand the intersections between performance, punishment, and the social and legal limits of personhood.
I Will Not Be Purified
Anyone who has ever been life-threateningly ill will know the desperation it breeds. You’ll try anything. You’ll do anything. And when treatments fail, and doctors—shockingly unskilled in empathy—shrug and suggest this means you will die, you start looking anywhere for help.