Features

‘By changing oppressive patterns on many levels, the movement has much to say about feminism in the present moment’

‘Light was shone into the darkest corners of the continent to reveal the most wonderful traditions, which had been isolated by cold war ideologies and boundaries’

The artist’s sculpture possessed an almost surreal promise, as if at any moment it might become a Really Living Thing

From Clémentine Deliss to Megan Tamati-Quennell, four curators discuss the projects that have informed their thinking around decoloniality

From Raqs Media Collective to Kapwani Kiwanga, five respondents discuss the projects that have informed their thinking around decoloniality

How monolingualism is the carbon monoxide of culture

The beasts in the artist’s One or Several Tigers lead us into the tangled thickets of identity and religious ritual

The power of visibility: on postcolonial seeing and being seen

How is contemporary Aboriginal art challenging an exclusive historical canon?

Things to chew over: In the Absence of Our Mothers makes histories of displacement uncomfortably felt

From Julieta González to Simon Njami, five artists, curators and writers discuss the projects that have informed their thinking around decolonizing culture

Have institutions facing calls to decolonize forgotten that ‘to curate’ originally meant ‘to care for’?

I cut my skin to liberate the splinter evokes the dissonance and precarity of post-apartheid South Africa

The spectral presence of prisoners in everyday commodities 

Artists, curators and writers discuss the projects that have informed their thinking around decolonizing culture

On sonic trajectories and resistance

Seeking to address the inadequacies of current educational models is an urgent and ambitious task, but this show’s answers fall into nostalgia

Ahead of ‘Anni Albers’, which opens at Tate Modern next week, Hettie Judah visits the legendary German educational institution

The fallacies of ‘community building’, online and IRL, in the work of Cécile B. Evans

A new film uses a sculpture by the late Donald Rodney to reflect on the many tales of race and class that are etched on the skin