Maria Thereza Alves and Don Genaro Amaro Altamirano were joined by Ana Bilbao to discuss The Return of a Lake (2012), a work by Alves produced in collaboration with the Museo Comunitario del Valle de Xico, Mexico.
Nikita Alekseev and Vadim Zakharov were joined by Margarita Tupitsyn to discuss the APTART ‘anti-shows’, that took place in Moscow between 1982 and 1984.
Franco ‘Bifo’ Berardi joined Laura Mulvey and David Campany to discuss the October Revolution and its artistic and cultural legacy.
To coincide with the publication of Anti-Shows: APTART 1982–84, Maja Fowkes and Reuben Fowkes survey the chaotic landscape of unofficial, apartment and ‘alternative’ art in Eastern Europe during the 1980s.
Bart de Baere joins Charles Esche to discuss ‘This is the show and the show is many things’, an exhibition that took place at S.M.A.K, Ghent in 1994, alongside related events.
First published to accompany Phase (I) of ‘We Are the Center for Curatorial Studies’, at the Hessel Museum of Art, NY, Chris Kraus draws on the lives and work of Julie Becker, Arthur Felberbaum and Ruth Maleczech, amongst others, in a series of eight short and speculative reflections.
David Toop joined David Morris to discuss ‘Sonic Boom: The Art of Sound’ (2000), an exhibition that took place at the Hayward Gallery, London.
T.J.Demos discusses the industry of death through an examination of the recent work of Oreet Ashery.
Ambra Gattiglia examines Shigeo Anzaï’s photographs of the 1970 Tokyo Biennale.
Lubaina Himid joined Paul Goodwin for a discussion of her radical exhibition projects during the 1980s, which introduced a whole generation of Black women artists.
Thursday 10 December 2015, curator and writer Rasha Salti joined curator Omar Kholeif eleventh in our series of talks analysing and contextualising exhibitions through the personal accounts of the curators responsible.
In a preview of the forthcoming issue 40 of Afterall journal, we are pleased to make available a new essay by Sven Lütticken, who outlines a theory of mediated life from nineteenth-century barricades to twenty-first century occupations.
On Thursday 21 May 2015, curator Hou Hanru joined Afterall and Whitechapel Gallery for the ninth in our series of talks analysing and contextualising exhibitions through the personal accounts of the curators responsible for them.
On Wednesday 25 February 2015, Ivet Ćurlin from the Zagreb-based curatorial collective WHW/What, How & for Whom joined Afterall’s Line Ellegaard for the eighth in our series of talks analysing exhibitions through the personal accounts of the curators responsible for them.
Nick Aikens discusses the pertinence of Bouchra Khalili’s film trilogy considering the recent successes of right wing nationalist parties in Europe.
On Saturday 18 October 2014 we launched our recent One Work book, Thomas Hirschhorn: Deleuze Monument with this dialogue between Thomas Hirschhorn and Anna Dezeuze.
On Thursday 18 September 2014, Helmut Draxler joined Afterall’s Helena Vilalta for the seventh in our series of talks analysing exhibitions through the personal accounts of the curators responsible for them.
Gavin Everall considers the ambitions of independent publisher Copy Press, reflecting upon the political gestures of Days of Surrender by Jaki Irvine and Pure Means by Yve Lomax.
Watch curator Clémentine Deliss discuss the 1995 exhibition ‘Seven Stories About Modern Art in Africa’ for the sixth in our series of talks analysing exhibitions through the personal accounts of the curators responsible for them.
Watch video documentation of Sarah Lehrer-Graiwer and Bruce Hainley discussing the subject of our recent One Work book, Lee Lozano’s Dropout Piece.
Watch a video of the opening session of ‘“Magiciens de la Terre” Reconsidered’ at Tate Modern.
Watch videos of our symposium reconsidering ‘an Exhibit’ the pioneering artwork, exhibition and collaborative project of Richard Hamilton, Victor Pasmore and Lawrence Alloway.
Watch Jasia Reichardt in conversation with Afterall’s David Morris, discussing how artistic developments of the 1950s anticipated her curatorial work during the 1960s, for the fifth in our series of talks analysing exhibitions through the personal accounts of the curators responsible for them.