Opinion

Two films and a dance piece focus on our shifting postures in light of connective technology

What impact has the repressive offensive against demands for independence had on the Catalan cultural scene?

The ghostly museum in Walid Raad’s performance Kicking the Dead hints at the real challenge facing the Louvre’s new Middle East outpost

Rebecca Solnit and the Not Surprised letter

Following the Not Surprised letter it’s time to uncouple power from abuse in the art world

Despite its magic unreality, Yorgos Lanthimos’s tale of complicity reflects a brutal real-world collateral

Alfredo Jaar’s show at Yorkshire Sculpture Park, Wakefield, forces truth and images to confront each other

 John Akomfrah's epic Purple highlights new ways of visualizing our current state of ecological emergency

Rebecca Warren lines up a parade of pagan bronzes for Tate St Ives’s newly opened gallery

Two films using time and repetition to question our fragile relationship to lived reality and revolutionary politics

A pair of exhibitions in New York question the nature of authorship in fashion’s postmodernity 

Hito Steyerl’s Duty Free Art and A Field Guide to the Snowden Files

‘Elastic Hours’, the 8th edition of the Sequences biennial in Reykjavik, Iceland, took time scales – both short and long – as its subject

Ways of talking about race and appropriation: Claudia Rankine, Hannah Black and Tate Modern’s ‘Black Art, Black Power’ conference

Douglas Murphy’s examination of former mayor Boris Johnson’s botched projects and Iain Sinclair’s London lament chart a battle for the city’s soul

A report from ‘Upon a Shifting Plate’, the final off-site project of this year’s Sharjah Biennial

From innovations of the Greater London Council in the 1980s to the joy of ‘Acid Corbynism’: bright old futures at The World Transformed festival

On Donald Trump’s decision to withdraw the US from UNESCO

The debut feature film by Austin Lynch and Matthew Booth is a captivating portrait of America loosely inspired by reclusive artist Forrest Bess

Reena Spaulings, ‘bad painting’ and the institutionalization of Institutional Critique