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.
Marcelline Block traces contemporary representations of homelesness back to their foundations in literature, philosophy and cinema, in her review of the exhibition 'Where Do We Migrate To?'
How is ‘endurance performance’ to be interpreted against the backdrop of the current financial crisis? Ellen Feiss considers re-performance as labour in Marina Abramović’s recent projects.
Agata Pyzik traces the history of former Soviet architecture to show how the architects of the Eastern Bloc have turned into the architects of Capitalist Realist skyscrapers and glass towers.
In early April of this year, the art world was chilled by the unexplained arrested and detainment of Ai Weiwei; Shumi Bose considers the significance of publishing the artist's 'digital rants'.
For several decades now, Geeta Kapur has both shaped and documented India's contemporary art scene. In the second part of this interview, Kapur discusses nationhood, identity and the problematics of globalised curation, with Natasha Ginwala.
Co-founder of Afterall and director of the Van Abbemuseum in Eindhoven, Charles Esche passes impassioned comment on the recent cuts to the cultural sector in the Netherlands.
Earlier this summer, Afterall teamed up with partners UNIA arteypensamiento, BNV Producciones and Mute to organise a conference on the cultural, social and political uses of art journals today. Line Ellegaard reports.
Andrew McGettigan unpicks the new White Paper on higher education 'Students at the Heart of the System' – and highlights the ramifications for the arts.
For several decades now, Geeta Kapur has both shaped and documented India's contemporary art scene. In a candid interview, Kapur converses with curator and critic Natasha Ginwala on discursive and curatorial frameworks within the subcontinent's art establishment.
Andrew McGettigan analyses the problems in practice-led art PhDs, suggesting some alternative approaches.
When multistorey carparks are hailed as artistic masterpieces, do we put it down to grandiose chutzpah or the transformative power of starchitecture? Katie Kitamura pulls up at Herzog & de Meuron's 11 11 parking lot-cum-shopping palace in Miami Beach.
Owen Hatherley considers the student occupations in the UK, reading them as a protest both against the spending cuts and against the New Labour partial privatisation of universities and educational space.
Lizzy Le Quesne looks at new practices in dance that foreground perception and experience. suggesting that, following Jeff Wall's categorisation, the 'movement arts' are also reaching a point of self-negation.
Andrew McGettigan unravels the controversial closure of Middlesex's Philosophy department and its implications for philosophy in UK higher education.
Colin Perry looks back at Channel 4's groundbreaking programming of the 1980s, and in particular Stuart Marshall's Bright Eyes, one of the first documentaries to confront the AIDS crisis.
In this essay, the the first of a series Afterall will publish over the next three years, Cosmin Costinas and Maria Hlavajova introduce the international research project FORMER WEST.
Daniel Fuller reflects on a series of unofficial historical plaques erected throughout Pittsburgh, which tell a second side of the story about the Great Railroad Strike of 1877, the US's first major working-class rebellion.
Rebecca Heald considers the latest edition of Home Works, the ten-day event of lectures and performances in Beirut, and its approach this year to questions of education and radicality.
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.