Art Monthly : Recent Articles

Carolyn Lazard

Giulia Smith discusses the Philadelphia-based artist’s political agenda, which centres on changing the institutional treatment of disability rather than merely representing it

Richard Grayson: Possessions_inc.

Jamie Sutcliffe navigates the vortex of superstition and techno-consipiracy in Richard Grayson’s online video series

Letter from Zurich

Aoife Rosenmeyer is peeved by the art market’s framing of older female artists as Cinderellas waiting gratefully to be discovered

Call & Response

Morgan Quaintance takes issue with the political claims made in Stephanie Bailey’s article ‘Athens: Future Past’ and Stephanie Bailey responds

Harry Meadley: But what if we tried?

Tom Emery finds out what happens when a public gallery attempts to exhibit every artwork in its collection at once

Letter from Houston

Astrid Korporaal finds a pioneering spirit full of hope for positive change in a city with a surprisingly rich art heritage

Meiro Koizumi: Battlelands

Amy Luo reviews the Japanese artist’s collaboration with US military veterans

Bow Gamelan Ensemble: Great Noises that Fill the Air

Morgan Quaintance enjoys the artist sound collective as an enthralling reminder of the experimental alternative to cultural conservatism

Letter from Kampala

George Vasey reports on the Ugandan capital’s energetic but under-resourced art scene

Letter from Korea: One Step at a Time

Chris McCormack reports on the Gwangju and Busan biennales at a tentatively hopeful time in Korean politics

Private Museums

Aoife Rosenmeyer on the current boom in private art institutions

Oberhausen: Leaving the Cinema

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

Martha Rosler and Hito Steyerl: War Games

Stephanie Schwartz reviews the two-artist show at Switzerland’s Kunstmuseum Basel

Art Investigation

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