Monika Szewczyk considers vague and absent images in relation to Lidwien van de Ven's current exhibition at Bloomberg SPACE.
Cerith Wyn Evans's installation at Bergen Kunsthall casts a mysterious spell, with pulsating columns of light, fragments of poetry and an otherworldy musical creature..
Belinda Bowring finds in the recent re-performance of Jack Goldstein's Two Boxers (1979) a 'presentness' that elides many of the problems of re-staging past performances.
In this suggestive reading of John Stezaker's Lost Images series, Mark Prince pits them against Warhol's screenprints to see them as a commentary on the complex relationship between fame, stardom and anonymity now.
Louise O'Hare reviews the latest edition of Manifesta 8 and its unwitting entanglement within the problems of authenticity and sincerity.
In this photo-essay, Ben Borthwick and Melissa Gronlund reflect on Rosa Barba's adaptation of cinema into printed and, here, online publication.
Veronica Tello reviews Dierk Schmidt's five-year project The Division of the Earth, now published in book form, which surveys Germany's colonial history in Namibia.
Is the past 'far away'? Melissa Gronlund reflects on the 56th Oberhausen Short Film Festival's recent programme of films from pre-World War I Europe.
On the occasion of a screening of Stephanie Barber's films at Anthology Film Archives, Ed Halter reflects on Barber's deployment of material language and the emotional density of her gnomic films.
Fiontán Moran reviews Tate Modern's film programme 'Invocations and Evocations: Queer and Surreal', which looked at the shared sensibilities between Surrealist and queer experimental film-making.
In this photo-essay, Rosa Lléo looks at the work of Spanish artist Oriol Vilanova, and his use of found postcards to reflect on the iconographies of victory and power.
Isla Leaver-Yap discusses the tumultuous performances, operas and cabarets of Meredith Monk, and their attempt to form a unique physical and performative language.
Will Bradley reviews Proud to Be Flesh, the anthology of writings over the past fifteen years from Mute, the magazine that has been a key site for debate on net.art politics, immaterial labour and anti-globalisation.
Janet Harbord considers the photographs of French interwar photographer Denise Bellon, which Chris Marker assembled in his film Remembrance of Things to Come (2001).
Nicole Wolf surveys the latest edition of Experimenta in Bangalore, the Indian festival of experimental cinema, with this year a special focus on film and video work from Asia.
Looking at 'rebelle', a recent exhibition at the Museum of Contemporary Art in Arnhem, Hendrik Folkerts considers what it means to write a history of feminism.
Pip Day, Pablo Lafuente and Maria Muhle discuss what the 2009 Istanbul Biennial means for the limitations of Modernist display and the potential of politicised art practice.
Trespassing in an industrial yard in the south Bronx, Mary Walling Blackburn comes into contact with a stored Richard Serra torqued spiral, in this essay on the nature of touching and trespass.
The origin of much of Stephen Prina's work lies in his appropriation of cultural artefacts. Whether it be Manet's paintings, a group of photographs documenting the exhibitions of an art gallery...
Since the Velvet Revolution in 1989 the Czech art scene has undergone a number of changes and upheavals, but a collective endeavour to create an art scene for both local and foreign spectators has been lacking...
'Does realism have any native counterpart in Asian aesthetics?' With this question the Thailand-based curators Gridthiya Gaweewong and David Teh opened their thematic programme 'Unreal Asia' at the Oberhausen film festival last May...
The recent group exhibition 'Après Crépuscule' ('After Twilight') at the Cologne Kunstverein revealed the hermetic world of the chic Belgian record label Les Disques du Crépuscule. Like its British counterpart Factory Records...
Less a theme and more a mood, uncertainty seems to be the unlikely anchor of the nomadic group exhibition "suddenly: where we live now" at the Pomona College Museum of Art in Claremont, California...
In 1937 Kurt Schwitters fled Germany, fearing arrest by the Gestapo, and travelled to the northwest coast of Norway. He lived there for the next three years in a small hut on the island of Hjertøya, opposite the town of Molde, overlooked by snowy mountains...