Afterall co-founder Mark Lewis pays a tribute to Michael Asher, recalling his first encounter with his work and the lasting impression that it left on his way of looking at art.
On the occasion of a London retrospective of Peter Nestler's films, Martin Brady discusses the alternative portrait of post-War Europe conjured by his fifty-year-long documentary oeuvre.
David Everitt Howe writes on the tension between form and discourse in Martin Beck's practice, suggesting that it critically mimics current neo-formalist trends in art.
On the occasion of de Appel's opening exhibition in its new premises, Nick Aikens reflects on the potential and limitations of sanctioned subversion.
How, and why, is the Greek art scene resisting the crisis? Sara Kuhnt analyses recent transformations in Greek cultural politics and asks for how long can the current spirit of solidarity last.
Marcelline Block traces contemporary representations of homelesness back to their foundations in literature, philosophy and cinema, in her review of the exhibition 'Where Do We Migrate To?'
How is ‘endurance performance’ to be interpreted against the backdrop of the current financial crisis? Ellen Feiss considers re-performance as labour in Marina Abramović’s recent projects.
Agata Pyzik traces the history of former Soviet architecture to show how the architects of the Eastern Bloc have turned into the architects of Capitalist Realist skyscrapers and glass towers.
In early April of this year, the art world was chilled by the unexplained arrested and detainment of Ai Weiwei; Shumi Bose considers the significance of publishing the artist's 'digital rants'.
For several decades now, Geeta Kapur has both shaped and documented India's contemporary art scene. In the second part of this interview, Kapur discusses nationhood, identity and the problematics of globalised curation, with Natasha Ginwala.
Co-founder of Afterall and director of the Van Abbemuseum in Eindhoven, Charles Esche passes impassioned comment on the recent cuts to the cultural sector in the Netherlands.
Earlier this summer, Afterall teamed up with partners UNIA arteypensamiento, BNV Producciones and Mute to organise a conference on the cultural, social and political uses of art journals today. Line Ellegaard reports.
Andrew McGettigan unpicks the new White Paper on higher education 'Students at the Heart of the System' – and highlights the ramifications for the arts.
For several decades now, Geeta Kapur has both shaped and documented India's contemporary art scene. In a candid interview, Kapur converses with curator and critic Natasha Ginwala on discursive and curatorial frameworks within the subcontinent's art establishment.
Andrew McGettigan analyses the problems in practice-led art PhDs, suggesting some alternative approaches.
When multistorey carparks are hailed as artistic masterpieces, do we put it down to grandiose chutzpah or the transformative power of starchitecture? Katie Kitamura pulls up at Herzog & de Meuron's 11 11 parking lot-cum-shopping palace in Miami Beach.
Owen Hatherley considers the student occupations in the UK, reading them as a protest both against the spending cuts and against the New Labour partial privatisation of universities and educational space.
Lizzy Le Quesne looks at new practices in dance that foreground perception and experience. suggesting that, following Jeff Wall's categorisation, the 'movement arts' are also reaching a point of self-negation.
Andrew McGettigan unravels the controversial closure of Middlesex's Philosophy department and its implications for philosophy in UK higher education.
Colin Perry looks back at Channel 4's groundbreaking programming of the 1980s, and in particular Stuart Marshall's Bright Eyes, one of the first documentaries to confront the AIDS crisis.
In this essay, the the first of a series Afterall will publish over the next three years, Cosmin Costinas and Maria Hlavajova introduce the international research project FORMER WEST.
Daniel Fuller reflects on a series of unofficial historical plaques erected throughout Pittsburgh, which tell a second side of the story about the Great Railroad Strike of 1877, the US's first major working-class rebellion.
Rebecca Heald considers the latest edition of Home Works, the ten-day event of lectures and performances in Beirut, and its approach this year to questions of education and radicality.