Issue 203

Renato Leotta employs moonlight, waves, dry-stone walls and ‘southern thought’ in order to ‘slow down time’

By Barbara Casavecchia

The queer cyberfeminist pioneer’s Taiwan Pavilion in Venice explores surveillance, pleasure and control

By Zach Blas
St. Mark's Square During the Historic Flood, 1966. Courtesy: Wikimedia Commons

To address the ‘interesting times’ alluded to in the title of the 58th Venice Biennale, we must challenge the language we use to describe them

By Andrew Durbin

An exhibition at Seventeen, London, reflects upon the precarious world that the arts professional must negotiate

By Paul Rekret

This specially-commissioned visual essay by Tony Cokes draws from theorist Kodwo Eshun’s moving epitaph for his friend, the critic Mark Fisher

By Tony Cokes

From Mx Justin Vivian Bond to Andy Warhol: fan artists in New York

By Olivia Laing

How archival collections are being re-animated via new technologies

By Ellen Mara De Wachter

After years in the critical wilderness, Pattern and Decoration, the first postmodern art movement, is being reassessed by a number of exhibitions in Europe and the US 

By Amy Sherlock

The boom in cinema magazines dedicated to print

By Erika Balsom
Rahime, Kurdish Woman from Turkey (detail), 1979, photographs, pencil, coloured pencil, paint and mixed media on cardboard, dimensions variable. Courtesy: the artist and Vehbi Koç Foundation Contemporary Art Collection, Istanbul; photograph: Hadiye Cangök

The artist takes us through her multi-faceted practice, now on view in her retrospective at Museum Ludwig, Cologne 

By Övül Ö. Durmuşoğlu

Her retrospective at the Met is a five-decade meditation on the vastness of the cosmos and the insignificance of human life

By Sarah Manguso