The works, in relation to each other, successfully embody the curatorial statement, ‘we are an inseparable part of nature and therefore always connected to each other.’ They weave together the concepts of life, love and death, therefore, establishing a coherent larger framework of the exhibition. This thematic consistency is also visible in the aesthetic production with a striking palette of cool earth tones. While the composition of the works within the confines of the gallery makes perfect sense, the overall exhibition raises more questions than it answers in regards to its larger socio-political implications. Collectively their works hardly do justice to the subject matter that they deal with.READ
On Love? A Review of the Exhibition ‘Unity’ at SIC Space
Najia Fatima iterates how it is crucial to remain critical of spaces that claim universality without adequately centering marginalised voices.
Is it possible for a white institution to say it presents the articulation of people of colour? Is it possible for a non-indigenous institution – which through its national identity participates in the theft of indigenous artifacts and bodies – to say it is giving a place to the ideas and thoughts of the indigenous people? How can an institution talk about the disappearance of universal value judgements and the need for diversity in values within society when it is the final harbinger of value judgements and its permanent staff, which wields this power, is itself not diverse? How does it claim to judge what “diversity” or the subaltern articulate and what of this articulation should be in a museum? What are these claims based upon? The choice of artists? The act itself of legitimizing a voice? Unless the very foundations of this system change, we are all just playing along.READ
Problematizing Perspectives and Positions: A Review of ARS22
How can the subaltern be meaningfully and non-performatively brought into the museum?
In an art world obsessed with the urge to find the next new thing and benefit from it, can a sleek, high production value exhibition showcasing the work of 15 - 23 year old artists challenge the love-hate relationship with the youth? Generation 2023 is balanced and diverse, but its fixation on youth is double edged.READ
There Are No Enfants Terribles Here: A Review of Generation 2023
In an art world obsessed with the urge to find the next new thing and benefit from it, can a sleek, high production value exhibition showcasing the work of 15 - 23 year old artists challenge the love-hate relationship with the youth? Generation 2023 is balanced and diverse, but its fixation on youth is double edged.
The Adventures of Harriharri is one such ‘other-worldly’ space where we can experience each other’s dreams. The live game performance uncovers the overlapping of territories, the unsettling of institutions, and the linking of languages and sites of exploitation. It investigates what migration can teach us about contemporary forms of community and encourages us to search for that which goes beyond them.READ
Crouched! Crouched Is My Position: A Review of the Adventures of Harriharri
Uzair Amjad articulates how a live game performance uncovers the overlapping of territories, the unsettling of institutions, the linking of languages and sites of exploitation.
In this piece, I explore the interrelatedness of visuality, black displacement and black diaspora. Diaspora Mixtapes makes apparent the efficacy of visual representations as an artistic genre that implicitly addresses questions of border regimes, queer belonging, and self-representation. Furthermore, Diaspora Mixtapes exemplifies the contemporary inclination to make visible black cultural exchanges.READ
Diaspora Mixtapes: Towards a Politics of Black Filmmaking
Analytical review of ‘Diaspora Mixtapes’ an art-house documentary reveals what it means to politicize the visual.
Knowing the genealogy of women’s resistance in Iran since the turn of the century helps us see recent events not as unprecedented ruptures and a sudden awakening of women in an archaic patriarchal society but as the accumulation of multiple resistances throughout our modern and contemporary history in the face of an ever-shape-shifting patriarchy.READ
Representation of Disobedient Bodies: A Critical Reading of Shirin Neshat’s Visual Language
Comprehending the discrepancy between the representation of the multitude of experiences of people’s protests in Iran, reflected in their own photographic and moving images, and the detached artistic creations of diasporic artists like Neshat.
One could think of FLIP!, with high respect to popular culture, as more strictly a popular culture exhibition, meant for hanging out and digging – not to support the dichotomy of art vs. popular culture but to accentuate meaningful differences in interpretation, experience, and atmosphere. If so, why not make this more into popular culture? Go for the ‘cool’, or build an ‘awesome’ experience? Could this be Artsi’s path in the future?READ
Many Moves but No Broken Bones: A Review of ‘Flip! Skate & Art’
FLIP! Skate & Art at the Vantaa Art Museum Artsi presents the work of artists who have produced art about skateboarding and/or learned from it artistically. Although lacking the ability to go beyond aesthetic impressions and bring out edge, depth, and paths for new thinking, the exhibition contains some great artworks and builds an archive of skateboarding art to learn from.
The wealthy are equated with such minorities as if being wealthy were a specific cultural phenomenon or even an identity based on a form of discrimination. Veering through notions of whether wealth improves mental well-being or is taboo in Finnish society, Eetu Viren peruses the exhibition’s banality and ridiculousness to expound on questions of wealth and power and why the Finnish National Museum hosted an exhibition that characterizes the wealthy as a “minority group.”READ
The Poor Rich People: A Review of ‘The Philosophy of Wealth’
Eetu Viren on questions of wealth and power and why the Finnish National Museum hosted an exhibition that characterizes the wealthy as a “minority group.”
I could see a lot of love. But I was still trying to find the anarchy that breaks through and what it breaks through. I wondered if I should write about the positionality of the festival in what can be termed as its cultural intervention into events and processes that affect us today.READ
Finding Anarchy: A Review of Helsinki International Film Festival
How can organizations dismantle power and operational structures within the world of film festivals to make them speak to the city’s various layers of inhabitants and their lives?