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Opinion

In ‘New Order: Art and Technology in the Twenty-First Century’ at the Museum of Modern Art, New York, the definition of ‘technology’ is intentionally loose

By Mike Pepi

Scherer’s ‘didactic operetta’ at Kinderhook & Caracas, Berlin, mimics a world of debased authority

By Stanton Taylor

The Golden Lion-winning Lithuanian Pavilion, ‘Sun & Sea (Marina)’, crafts an endless pop song for the end times

By En Liang Khong

By Natasha Ginwala with contributions from Abdul Halik Azeez (@Colombedouin), Muvindu Binoy, Sandev Handy, We Are From Here, Imaad Majeed and Pushpakanthan Pakkiyarajah

By Natasha Ginwala
Mariko Mori, Tea Ceremony I, 1994. Courtesy: Sean Kelly, New York and SCAI the Bathhouse, Tokyo

How cyborg identities have empowered women to challenge societal norms

By Yae-Jin Ha
Edward Kienholz, The Eleventh Hour Final, 1968, multi-media. Copyright Kienholz. Courtesy: © the artist and L.A. Louver, Venice, CA

‘Past is prologue’ in two shows at the Smithsonian American Art Museum, following the 50th anniversary of the Tet Offensive

By Ian Bourland

A new book by Jay David Bolter chronicles the demise of cultural gatekeeping

By Houman Barekat

The best of the off-site and collateral exhibitions during the 58th Venice Biennale

By Pablo Larios

From demanding choreographies to ‘the sea of our subconscious’, further highlights from the National Pavilions in the Giardini

By Amy Sherlock
Jos de Gruyter and Harald Thys, ‘Mondo Cane’, 2019, Belgian Pavilion, La Biennale di Venezia 2019. Courtesy: the artists and the Belgian Pavilion; photograph: Nick Ash

The first in our series of reports from the 2019 Venice Biennale: the National Pavilions in the Giardini

By Harry Thorne

What does Jean-Léon Gérôme’s 1866 painting ‘Slave Market’ say about today’s extremist politics?

By Cody Delistraty

Institutional incorrectness aside, the 2019 shortlist is an exciting, politically-charged collection of artists

By Chris Sharratt