documenta 14 is not owned by anyone in particular. It is shared among its visitors and artists, readers and writers, as well as all those whose work made it happen.…
Take Grand Bois (1975), with its overlap of fluid, gesticulating branches of the tree/God; or Imamou (1970s), the stature and mysterious prominence of the rooster looking on/in at the ceremony for Agoue…
“Throughout this depiction of the Crusaders, of the Crusades, from which the cross is so curiously absent, except on the ornaments of the indignant patriarch on the left, it is as though there is an…
Few filmmakers in recent years have managed to combine formal innovation with a programmatic stance toward filmmaking quite like Véréna Paravel and Lucien Castaing-Taylor. In the process of reinventing…
In the 1990s, a civil movement organized at grassroots level by students and villagers to try to reconcile the thousands of feuding families around Kosova. These blood feuds were based on an old law that…
Originally designed in 1866 to host finds from nineteenth-century archaeological excavations, the museum’s collections—the most extensive in Greece—date from the sixth millennium BC to late antiquity…
Tofufabrik was founded toward the end of the 1990s by György Debreceni and Heike Hellerung, pioneers of the “bio tofu scene” in Hessen. What started as a small, local supplier of organic bean curd…
Hunger, Thomas Malthus and Adam Smith tell us, independently from each other and with completely different concerns, is a man-made condition, the result of the ecosystems of societies—society drives…
Bloody Beans, Narimane Mari’s first feature-length film, is a dreamlike take on the violent spiral of Algeria’s recent history. Its force and beauty is that it does not employ a straightforward historical narrative, but instead re-enacts the past through play…
I translated this Bengali short story into English as much for the sake of its villain, Senanayak, as for its title character, Draupadi (or Dopdi). Because in Senanayak I find the closest approximation…
The choice of the title, Matter Form Facture, signals my continued engagement with a materialist aesthetic that counterbalances the disdain with which conceptual, mediatic, and textual forms of contemporaneity…
Within the complex allegorical structure of Gustave Courbet’s L’Atelier du peintre (Painter’s Studio, 1854–55), the Irish beggar woman constitutes not merely a dark note of negativity calling into…
