Art Monthly 476: May 2024

Art Monthly cover Art Monthly back cover
Tai Shani

Interviewed by Bassem Saad

The Art of Apology

Bob Dickinson


Tom Hastings


Giovanni Aloi

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Tai Shani, My Bodily Remains, Your Bodily Remains, and All the Bodily Remains that Ever Were and Ever Will Be, 2023


Other Worlds

Tai Shani interviewed by Bassem Saad

We are continuously put in a position where we feel we are starting from ground zero, when in fact we are part of what I think of as a collaborative anthem crossing time and space.

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Peter Santino, I Am Sorry, 1995


The Art of Apology

Bob Dickinson argues that not only can art find new ways to address subjects of reparation and responsibility but can keep these issues politically alive

The theme of failure embodied in the ephemeral nature of Peter Santino’s I Am Sorry’s construction also emphasised the extent to which apologising, for real, is so fraught with difficulty. Even when it is sincere, an apology may still not seem like nearly enough.

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badge depicting Edward Said printed by Sam Keogh to raise money for Palestine Action



In the light of the war on Gaza, Tom Hastings looks at how activists and artists have responded to the increasing restrictions on the right to public protest

Mona Benyamin’s video work Tomorrow, Again, 2023, featured a loop of news broadcasts on events in Palestine in which the broadcasters are overwhelmed by uncontrollable belts of crying. The mainstream media may learn something from those newsreaders’ inability to communicate as normal in the face of genocide.

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Liberate Tate, Time Piece, 2015



Giovanni Aloi asks what constitutes an effective intervention in our age of the hyperpolitical museum

Protesting is a serious and deeply engaged discourse: a true art form, especially when it takes place in a museum. An archaeology of museum protests reveals sedimentations, movements, strata and ruptures that activists must learn from and reinvent.

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Kobby Adi, Lesson, 2023–24


Kobby Adi

Tom Denman

Rather than demystifying filmmaking – as structural film sought to do by subordinating content to form – Kobby Adi does the opposite, drawing an imperfect equivalence between the medium and his sculptures and positing the cinematic image as an immaterial presence magicked out of materials.


No Pasaran

One of the greatest acts of protest was the formation of the International Brigade, whose volunteers came together to fight against General Franco’s fascists in the Spanish Civil War. ‘No pasaran’, they cried in the Battle of Madrid – ‘They shall not pass!’

The need to protest, and to resist the rise of the far right everywhere and by any means possible, remains; if protests were not effective, govern- ments, especially dictatorships, would not use all their power to suppress them.


Pavilion Politics

The artist and curators close their Israeli Pavilion at the Venice Biennale but still face protests; art buildings are bombed in Gaza and Kyiv; artists call for a boycott of the Outset contemporary art charity; Home art centre flip-flops on hosting events featuring Palestinian culture; the British Museum and the Science Museum suffer more protests over their ties to fossil fuel giants; work/live studios are studied; art education budgets are cut; Damien Hirst finds himself in a pickle of his own making; plus the latest on galleries, people, awards and more.


Richard Serra 1938–2024
Patricia Bickers
Lucas Samaras 1936–2024
Alison Green
Joan Hills 1931–2024
Chris Townsend

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Nikita Mohammadi, Memory Stone, 2024, The Lowry, Salford


Whitney Biennial: Even Better Than the Real Thing

Mimi Howard

On the other side

Niki Russell

Jenna Bliss

Martin Herbert

Candice Lin: The Animal Husband

Daniel Culpan

Revital Cohen & Tuur Van Balen: Daughter of Dog

Elisa Adami

Mathew Wayne Parkin: I can fit a fist in my mouth

Hannah Wallis

Nikta Mohammadi: Memory Stone

Farah Dailami

Lee Holden: Universal Bridge

Bob Dickinson

Aleana Egan: Second Hand

Eilis O’Connell: In the Roundness of Being

Joanne Laws

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Unlicensed: Bootlegging as Creative Practice, Ben Schwartz ed


Unlicensed: Bootlegging as Creative Practice

Adam Heardman

Printed on black paper, the book is a subversive object in itself, an exploratory survey presented as a 400-page zine, deliberately complicating its own medium. It feels both beautiful and disposable, making it the perfect vehicle for the (often conflicting) ideas it carries.

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Ashley Holmes, Skylarking, 2024


Ashley Holmes: Skylarking

Sarah E James

Lit in an otherworldly amber light – as natural as firelight but as artificial as streetlight – Holmes’s sound installation resembles a kind of portal that might serve the purpose of nomadic time-travelling.

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‘Unravel: The Power and Politics of Textiles in Art’, Barbican, London



Luisa Lorenza Corna

As widely reported in the media, in February, just two weeks after its opening, collector Lorenzo Legarda Leviste requested that the Barbican withdraw his loan from the show in protest against the cancellation of writer Pankaj Mishra’s lecture. Five artists followed suit.

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The Neighbours, installation view


Letter from Sofia

Juliet Jacques

The team wanted to counter the idea that the history of the camps could not be told due to a lack of visual documentation or because the material is so fragmented; during a long conversation in their studio on the outskirts of Sofia, they told me that for them ‘the shards are the story’.

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‘The Art of Hermès’, Omer Tiroche Gallery, London, 2020–21


Ties That Bind

Henry Lydiate

A recently filed lawsuit focuses on whether it is lawful for an exclusive trader of goods to sell only to would-be buyers deemed suitable. The eventual outcome of the case may have significance for the way dealers conduct primary sales of works by artists they exclusively represent – particularly for dealers who only sell to selected collectors.

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