Jan Verwoert

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

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

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

The strange persistence of class difference in art

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

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

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

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

Cracking the codes of Conceptual art

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?

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

Kunstverein, Hamburg, Germany

Theodor Adorno's centenary

Kölnischer Kunstverein, Cologne, Germany

Nationalgalerie, Berlin, Germany

Lucy McKenzie

Various Venues

Jan Verwoert on Franz West 

Hamburg Kunsthalle, Germany

Marko Lulic