“What is it that I actually believe in? What is it that I actually live for? How are my practices, daily habits, and rituals in service of that, or how do they go against it?” These questions are the starting point for the conception of Evan Ifekoya’s show, Ritual Without Belief, currently on view at Gasworks. In her first solo exhibition in London, the artist presents a sound work and an installation investigating the topics of polyvocality, subjectivity, authorship, and collaboration within a group of young, black, queer, female/non-binary artists committed to envisaging a system that can become a community resource after the exhibition.
While on the one hand the contemporary political scene has made the nuclear nightmare new again, the War Games proposed by Martha Rosler and Hito Steyerl in their new exhibition at Kunstmuseum Basel reflect the pitfalls of a war fought in the folds of media and technology in the present.
In her work Husni-Bey slowly gets to the heart of questions about which she feels deeply, such as civil disobedience, physical pain, the right to public space and the freedom of the body, to self-determination, to failure.
I heard a popular common saying on my way to the city center: “Vedi Roma e muori,” which means that if you’ve been to Rome, you’ve seen everything, and so you can peacefully die.
An energetic window painting caked in neon hues and featuring a cartoon devil decorates the entrance to Auto Italia South East in East London. Tricked out in high-tops that scream 1990s, the little devil looks down nervously at the trident in his hands.