It all started with the holes in the wall. The courtyard walls at MoMA PS1 are cement, with small, structural holes for the wind to come through. And you can peek through them.
July/August 2024
July/August 2024
Boundary Crossing: A Conversation with Yinka Shonibare
“Suspended States,” Yinka Shonibare’s current show at the Serpentine and first solo exhibition in London in over 20 years, acts as a potent reminder of the legacies of colonial power, conflict, and displacement.
In the Same Boat: A Conversation with Romuald Hazoumè
A master of appropriation and transformation, Romuald Hazoumè uses found materials from his native Benin and beyond, with particular emphasis on plastic gasoline containers. In his sculptures and installations, these ordinary objects become pointed indictments of what he has called “Coca Cola culture,” a global plague of exploitation, division, corruption, desire, and conflict.
Connections Beyond the Tangible: A Conversation with Otobong Nkanga
For Otobong Nkanga, human life is inextricably connected to the natural world—the water we drink, the air we breathe, the land we live on. For more than 20 years, the Nigerian-Belgian artist has pondered questions about resource extraction and replenishment through her multidisciplinary practice.
Dreaming Material: A Conversation with Dineo Seshee Bopape
Dineo Seshee Bopape’s engrossing biography embeds her birth into a matrix of same-year events in a diffusion of the self that shows how each one of us is irrevocably intertwined with and, in essence, the product of a kaleidoscopic coincidence of circumstances.
Kehinde Wiley
HOUSTON Museum of Fine Arts Nearly all of the figures in the exhibition are deceased, wounded, or in repose, in striking contrast to Wiley’s previous works in which his subjects are (almost) invariably dynamic, assertive, and commanding.
Thomas Hirschhorn
NEW YORK Gladstone Gallery The cardboard suggested—symbolically—that we’ve mastered the art of packaging and marketing our wars, and that the lives of others come cheap.
