Lamia Joreige considers the frontier between the conscious and the unconscious in the work of Jalal Toufic, Andrei Tarkovsky, Jean Cocteau and David Lynch, setting these in relation to her recent video installation 3 Triptychs.
Responding to two papers given by Diedrich Diederichsen and Dorothea von Hantelmann, Nav Haq considers how value is estimated in the art world today.
Jess Baines looks back at London's printmaking workshops of the 1970s and 80s, DIY sites of political and community activism that rejected the traditional role of the artist to participate in a network of campaign groups, radical publishers and alternative distributors.
This year Semiotext(e) republished The German Issue, a compendium of French and German theory edited by Sylvère Lotringer in 1982. Annette Weisser looks back at its appearance in the German intellectual context at the time, and considers what its reissue suggests now.
In this video essay, Sarah Pierce excerpts four Irish-language television programmes from the 1950s and 60s that complicate Ireland's perception of its past and explore, as she writes, how notions of language, nation, history and territory are constructed.
Afterall's first photo-essay, by Polly Braden and David Campany, chronicles the River Lea in east London, site of the 2012 Olympic Games.
Matthew Green considers the importance of maps and topography to current historiographical accounts, as in the recent best-seller Hackney, That Rose-Red Empire: A Confidential Report by Iain Sinclair.
A multi-national art industry seems to have air-dropped its contemporary art institutions onto the vast plains of Marfa, Texas, USA (pop. 2500). Here lies a town where the primary economies historically favoured cattle ranching and military operations; currently they include a rapidly expanding US border patrol...
Artist Lloyd Hamrol looks back on CalArts during the 1970s; as told to Audrey Chan on 22 May 2007
The trouble with the group is there is always someone who wants to be the leader. To prove exemplary as a communal organization, the group must withstand threats from within, produced by the contest for charismatic pre-eminence among members. So then, why do groups work fine elsewhere but not in visual art?
Fast forward to a post-literate future where decisions, digested, crafted and regurgitated by metaphysician administrators of popular opinion bring shock, awe and despair upon the slow and old...