Taryn Simon

In further news: #MeToo flashmob at Venice Architecture Biennale; BBC historian advocates for return of British museums’s colonial loot

Laments for the dead are performed in a secret crypt beneath Islington Green

By En Liang Khong


27 Feb
19 May
Taryn Simon, Memorandum of Understanding between the Royal Government of Cambodia and the Government of Australia Relating to the Settlement of Refugees in Cambodia. Ministry of Interior, Phnom Penh, Cambodia, September 26, 2014 (detail), from the series 'Paperwork, and the Will of Capital', 2015, archival inkjet print and text on archival herbarium paper in mahogany frame216 × 186 × 7 cm. Courtesy Gagosian Gallery © Taryn Simon 

Taryn Simon speaks about her new project, a collaboration with a nuclear facility in Russia

By Pablo Larios
Trevor Paglen, Trinity Cube, 2015, irradiated glass from the Fukushima Exclusion Zone, Trinitite, 20 x 20 x 20 cm

Various venues, Fukushima & Watari Museum, Tokyo, Japan

By Philip Brophy

Presents her recent work, A Living Man Declared Dead and Other Chapters I–XVIII (2012)


How do contemporary artists accept or reject the strategies of reportage?

Art has a long history of engagement with politics. Does recent so-called socially engaged or political art really effect change?

By Negar Azimi
White Tiger (Kenny), Selective Inbreeding, Turpentine Creek Wildlife Refuge and Foundation, Eureka Springs, Arkansas (2007)

Taryn Simon’s photographs of restricted locations reveal an unsettling side to the American Dream

By Christy Lange