Clodagh Kinsella reviews the recent Bibliothèque nationale de France exhibition of their newly acquired Guy Debord archive.
Mark Prince reviews Pádraig Timoney's recent exhibition, reflecting upon the irony and consistency of his eclectic paintings.
Ambra Gattiglia and Hyo Gyoung Jeon review Paul O’Neill’s recent book ‘The Culture of Curating and the Curating of Culture(s)’, questioning its validation of the artist-as-curator.
Travis Riley profiles Corin Sworn’s recent slide and film installations, finding in them a persistent desire to blur the accounts of the past and question their hold on the present.
Mirtes Marins de Oliveira examines contemporary readings of Brazilian art history in her review of Claudia Calirman’s recent book on the work of Artur Barrio, Antonio Manuel and Cildo Meireles.
Hannah Rickards asks if mechanical performance must always come at the cost of liveness in her review of Heiner Goebbels's recent Artangel commission.
Jennifer Burris reviews 'Intense Proximity', Okwui Enwezor's ambitious Paris Triennale, examining the intricate relations between art and ethnography weaved in the show.
Nick Thurston considers writing as a focus of the recent Documenta and discusses the proximity between literary production and reception at the writing retreat set up in Kassel.
Melissa Gronlund assesses the New Museum's 'Ghosts in the Machine', admiring the historical survey of art and technology but querying the show's grasp on the contemporary.
Veronica Tello critiques the confusion of participation with inclusion, and rhetoric with politics, in her review of the 2012 Biennale of Sydney.
On its penultimate edition at the Marcel Breuer building, Deirdre O'Dwyer assesses the Whitney Biennial 2012 and its engagement with the museum as a social space mediated by politics of access, inclusion and exclusion.
Privileging forms of non-professional knowledge, Christel Vesters explains The World Explained, Erick Beltrán’s encyclopaedic research project.
Monika Szewczyk defends the Berlin Biennial against its detractors, seeing it as a reorganisation of labour among peers.
David Everitt Howe gauges Josef Strau's balance of writing and representation, reading and critique, in this short essay on his practice.
Josefine Wikström reviews Tate Britain’s timely symposium on art and ‘immaterial labour’, calling for a closer consideration of recent critiques of this concept and its foundational theories.
Kathy Noble identifies a yearning for pre-digital days in her survey of AV Festival 2012 and asks whether the outcome of fast-paced technological revolutions might be a new appreciation of human failure.
On the occasion of Kamal Aljafari's screening in London, Gaia Tedone unpacks the relationship between political and cinematographic memory in his films and suggests that his portrayal of everyday gestures complicates the mediated representation of occupation.
Lucy Reynolds reflects on Lis Rhodes's convergences and overlappings of sound and image, text and voice, in her current exhibition at the ICA, London.
John Douglas Millar discusses the performances of emerging artist Cara Tolmie, in the context of the rejection of hyperbolic theory in answer to the question: what happens after postmodernism?
Nancy Buchanan's practice posits the audience as participants in a conversation on the gendered body and the perils of commercialised spectatorship. Audrey Chan interviewed Buchanan in Los Angeles; this photo-essay maps her forty year career in her own words.
Mary Simpson's work discusses the intimacy of the bodily gesture and the oddly distancing close-up image; Isla Leaver-Yap looks at recent work.
Kathy Noble takes a disorientating journey with Laure Prouvost's newly commissioned film sequence and installations, at Spike Island and International Project Space.