Venice Biennale 2017
In this essay, artist and writer Neo Musangi takes a look back at…
Documenta 14 Athens
Under the ambitious title "Learning from Athens", this year's Documenta tries to face…
Review: Sonia Boyce at the Institute of Contemporary Arts, London
In Sonia Boyce's latest presentation, the realms of power and space are closely…
Afriques Capitales: Écrire la ville
Dans le cadre de la deuxième édition du festival pluridisciplinaire 100 % consacré cette…
A review of Sharjah Biennial 2017
Our author Christine Eyene takes a closer look at the 13th Sharjah Biennial,…
Review: German Colonialism - Fragments Past and Present
This special exhibition on German colonialism opened in October 2016 at the Deutsches…
The Whitney Biennial 2017
Our author Will Furtado takes a closer look at this year's Whitney Biennal…
Critique : The Probable Trust Registry: The Rules of the Game #1-3
Notre auteur Jessica Aimufua porte un regard sur la première exposition solo d'Adrian…
Review on Postwar: Art Between the Pacific and the Atlantic, 1945-1965
What could lead a group of curators or an institution to set up…
South South Connections at the Goodman Gallery
The Goodman Gallery in South Africa opened its second exhibition under the initiative…
Histoires d’expositions
Dans cette série, C& revisite les expositions les plus discutées, appréciées, détestées ou…
A Solo Retrospective on Belkis Ayón
Since the end of last year the Fowler Museum in LA holds a…
![Chemi Rosado-Seijo, documentation of Salón-Sala-Salón (Labra) (Classroom/Gallery/Classroom [Labra]), Escuela Rafael María de Labra, San Juan, PR, August–December 2014. Courtesy the artist](https://contemporaryand.com/wp-content/uploads/2017/03/28_RosadoSeijo.C_01.sm_-2048x1558.jpg)
