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Jan Verwoert

Jan Verwoert considers the history of Manifesta, European politics and whether an art exhibition can unlock the historical potential of a place

By Jan Verwoert

Jan Verwoert pays homage to Robert Linsley – a brilliant thinker, passionate painter and, moreover, a generous person

By Jan Verwoert
View of Volksbühne, Berlin, 1995. Courtesy: Ullstein bild/P/F/H

Jan Verwoert on friction between the creative worker and the local boardroom

By Jan Verwoert
Reihenhaus Dichterviertel Geilenkirchen (Fotografie: Jan Verwoert)

The strange persistence of class difference in art

By Jan Verwoert
Henrik Olesen, „Some illustrations to the life of Alan Turing“ (Illustrationen zum Leben von Alan Turing), Detail, 2008

Since the mid-1990s, Henrik Olesen has taken apart clichés about gay identity and turned the pieces into visceral installations, sculptures and col

By Jan Verwoert

The psychologically charged paintings of 16th-century artist Lorenzo Lotto explore hermeticism and the ‘pure profane’

By Jan Verwoert
Talks

Summoning the ghosts of unavowed histories

Jan Verwoert writes about the 1990s, ‘New Innocence’, popular TV shows and the ethics of profanity

By Jan Verwoert

Working through abjection and attraction, the sculptures of the late Alina Szapocznikow engender the politics of emotion

By Jan Verwoert
Susan Hiller, Ten Months, 1977-9, black and white photographs and printed text, 203x518 cm

Cracking the codes of Conceptual art

By Jan Verwoert
Babette Mangolte, (NOW) OR MAINTENANT ENTRE PARENTHESES, 1976, Film Stills, 16mm film/DVD, 10 min. Courtesy: Broadway 1602, New York. Photo: Babette Mangolte.

Working in the field of art makes it very difficult to draw a line between a professional and private life. What’s the best way forward?

By Jan Verwoert

Can a piece of writing ever precisely convey what the writer wants it to?

By Jan Verwoert