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.
On Thursday 12 December 2013 Ruth Noack was in conversation with Afterall’s Pablo Lafuente for the fourth in our series of talks analysing exhibitions through the personal accounts of the curators responsible for them.
Nick Aikens reflects on the work of Tadasu Takamine, the Otolith Group and Koki Tanaka, asking how we might attempt to grasp the ongoing repercussions of the 2011 Fukushima Daiichi nuclear power plant disaster.
Watch Guy Brett in coversation with Nayia Yiakoumaki, discussing ‘Hélio Oiticica: Whitechapel Experience’ (1969) for the third in our series of talks analysing exhibitions through the personal accounts of the curators responsible for them.
Watch video footage of Francesco Casetti’s lecture ‘Hypertopia’, the first event in Afterall and Birkbeck’s new collaboration, The City and its Moving Images.
Afterall pays homage to Seth Siegelaub by making available online a conversation between Jo Melvin and Seth Siegelaub, originally published in the Exhibition Histories book on Lucy Lippard’s ‘numbers shows’.
Nav Haq reports on the contemporary art scene in Lahore, suggesting that it is art schools rather than galleries that are the hub of its active artistic community.
Video documentation of the symposium ‘Artist as Curator: Collaborative Practices is now available. View talks and discussion by Clémentine Deliss, Liu Ding, Ines Doujak and Oliver Ressler.
Watch video footage of Lucy Lippard in conversation with Lucy Steeds, the second in our series of talks analysing exhibitions through the personal accounts of the curators responsible for them.
José Díaz Cuyás reflects upon Yves Klein’s participation in the shockumentary Mondo Cane, considering the 1960s passion for anthropophagy as a symptom of the incipient experience economy.
Nickolas Calabrese reflects upon Hakim Bey’s Temporary Autonomous Zone and its bearing on collectives from Bernadette Corporation to Occupy.
Watch video footage of Ute Meta Bauer in conversation with Iwona Blazwick, the first in our new series of talks analysing exhibitions through the personal accounts of the curators responsible for them.
Video documentation of Afterall’s ‘Artist as Curator’ Symposium is now available. View talks by Elena Crippa, Ekaterina Degot, Elena Filipovic, Alison Green, Ruth Noack, Willem de Rooij, Valerie Smith and David Teh here.
Line Ellegaard puts the spotlight on Kunsthal Charlottenborg’s tumultuous journey from artists’ house to international kunsthalle, and asks where it might go next.
Sarah Lowndes looks at the impact of austerity on the arts sector, particularly in Scotland, where the battle between artists and Creative Scotland has exposed the latter's 'ill-conceived decision-making' when it comes to funding the arts.
Liz Park looks at the complex relationships between author and producer in her report on the conference 'Institutions by Artists', held in Vancouver earlier this year.
Josefine Wikström discusses how Tate Modern’s programme ‘Art in Action’ brings the museum up to date with recent trends in artistic practice and questions the economics behind this move.
On 22 November 2012, we launched the most recent addition to Afterall’s One Work series, Infinity Mirror Room — Phalli’s Field, with a conversation between the author Jo Applin and art historian Briony Fer. You can watch a video recording of the event here.
Following the recent Serpentine Gallery Memory Marathon in London, Melissa Gronlund considers the Serpentine Marathons as the epitome of an increasingly event-led culture.
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.