Venice Biennale 2017
Since its opening in 1930, it's time to take stock of the US…
Documenta 14: Athens
Jota Mombaça recently moved to Athens for observing the multiple events surrounding Documenta…
Does the label “African” at events like the Venice Biennale finally expire? The…
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…
![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)
