Current art-funding schemes, despite their meritocratic veneer, remain incurably unjust. It is time, says Michaële Cutaya, for a radical shake-up.
Mitchell Anderson on embodiment in the US artist’s audio tour of the gallery space
Following the controversial special issue of leftist art magazine Texte zur Kunst, Sarah E James asks what happens when anti-anti-Semitism meets the ‘alt-right’
Lin Er-Ying on the lessons to be learned from this cautionary tale of Biosphere 2, the spectacular but doomed 1980s ecological experiment
Lauren Velvick on the variety of approaches, from browser plug-ins to web interruptions, that artists and organisations are using to present art online
Alexandra Symons Sutcliffe on the way the New York duo’s work charts the flows of capital that shape our world
Maeve Connolly examines the artist‘s interest in time travel, everyday language, patterns and technological utopianism
Khairani Barokka considers ableism in art in the light of the Covid-19 lockdown
Adam Hines-Green finds that the Oscar-winning artist is liberated by the limitations of video
Royal College of Art lecturers challenge the business-first approach of British universities and their art departments
Kathryn Lloyd examines the London-based artist’s new work, which takes on Greek mythology, cinema and the world of boxing to address long-term concerns about loss and trauma.
Larne Abse Gogarty finds this exhibition and two-act play to be an antidote to today’s cruel and crass political landscape.
Amna Malik explores Void Project’s thoughtful feminisation of contested representations of masculinity through the work of the late Palestinian filmmaker.
George Vasey discusses the coercive role of images and hidden racial, social and economic biases of photographic and other technologies, as revealed in the work of the London-based artist.
Hettie Judah reviews a collaborative film that follows the lives of Londoners as their city changes around them
Giulia Smith discusses the Philadelphia-based artist’s political agenda, which centres on changing the institutional treatment of disability rather than merely representing it
Jamie Sutcliffe navigates the vortex of superstition and techno-consipiracy in Richard Grayson’s online video series
Aoife Rosenmeyer is peeved by the art market’s framing of older female artists as Cinderellas waiting gratefully to be discovered
Morgan Quaintance takes issue with the political claims made in Stephanie Bailey’s article ‘Athens: Future Past’ and Stephanie Bailey responds
Tom Emery finds out what happens when a public gallery attempts to exhibit every artwork in its collection at once
Astrid Korporaal finds a pioneering spirit full of hope for positive change in a city with a surprisingly rich art heritage
Amy Luo reviews the Japanese artist’s collaboration with US military veterans
Morgan Quaintance enjoys the artist sound collective as an enthralling reminder of the experimental alternative to cultural conservatism
George Vasey reports on the Ugandan capital’s energetic but under-resourced art scene
Chris McCormack reports on the Gwangju and Busan biennales at a tentatively hopeful time in Korean politics
Aoife Rosenmeyer on the current boom in private art institutions
Adam Pugh uses the 64th Oberhausen International Short Film Festival to show that cinema is essential today, it being one of the few remaining social structures to enable public assembly
Stephanie Schwartz reviews the two-artist show at Switzerland’s Kunstmuseum Basel
Daniel Neofetou argues that Forensic Architecture’s success in the art world is symptomatic of a broader demotion of art’s capacity for political opposition
Maria Walsh reviews the group’s ICA exhibition
Lauren Houlton reviews Sam Thorne’s survey of independent art schools
Martin Herbert reviews the German photographer’s Hayward Gallery retrospective
Maxa Zoller on Egypt’s post-revolution art scene
The Minnesota-born, Kawasaki-based artist, writer, DJ and composer explores gender and systolic systems, and argues against reconciliation
Laure Genillard asks why won’t more galleries voice the fact that art fairs are rapidly eroding their viability