Hamishi Farah’s Antagoni
Hamishi Farah plays with the power of representational portraiture and metaphor as a means of dissecting and questioning Blackness within political and iconographic representation.
➼ Read MoreHamishi Farah plays with the power of representational portraiture and metaphor as a means of dissecting and questioning Blackness within political and iconographic representation.
➼ Read MoreLife’s more complex and mysterious facets—death, love, sex—somehow feel easier to understand when euphemistically padded through the iconography of the animal kingdom.
➼ Read More“Notes on Entropy,” currently on view at Arcadia Missa focuses on the entropy as a constructive process that destabilizes capitalist ways of thinking, i.e. embracing things that are non-useful, even disorienting.
➼ Read MoreIn A Sovereign Mouth, Rachel Jones has created a body of work that explores Black interiority and aliveness, as discussed in Ladi’Sasha Jones’ essay ‘A Grammar for Black Interior Art’.
➼ Read MorePatterns embrace their like and unlike in Zoé Blue M’s Passionate Attitudes.
➼ Read MoreThere’s an irony underneath Elmizadeh’s paintings. The vague compositions are taken from paintings on the opposite side of the spectrum, miniature paintings that are so complex and detailed that they’re sometimes painted with a single hair from a squirrel.
➼ Read MoreInterview by Emma Cohen Oysters, a bouquet of lilies, bright silk. Beautiful things usually invoke a class status. But acquiring these things through roundabout means—a dinner invitation, a slip into an exclusive party, a thank you gift—allow their consumer to see these objects for what…
➼ Read MoreNora Rosenthal on the eroticism of road movies and the joy of being a passenger.
➼ Read MoreTo celebrate our favourite holiday this year we joined forces with Red Bull Arts to bring you videos from artists whose practices both commemorate and complicate the spirit of Halloween. Using ghosts, monsters, costumes and the uncanny as strategies to remember the faithfully and unfaithfully departed, disinterring themes of family, colonialism, camp, and terror.
➼ Read MoreEnglund eschews any deep ties to the paranormal. In this way, their works, at times, can feel like forgotten relics—excavated from the bottom of the sea, or forgotten some place and surrendered to the elements.
➼ Read MoreTotal and burgeoning, Yngvild Saeter’s portfolio gives the term ‘body of work’ a renewed purpose of meaning.
➼ Read MoreLove and the hell of late-capitalism described with clarity and personality. I think Ferrick gets me.
➼ Read MoreHalloween Confession speaks to the comic nightmare that has escaped from the shadows of our dreams and devoured our waking lives.
➼ Read MoreSayre Gomez loves to drive. In the 14 years living in Los Angeles, he’s woven a vast tire tread web around his Boyle Heights studio. Gomez is observant, porous to the spillage of upper-case exclamations and neighbourhood changes that perpetuate his commute.
➼ Read MorePainter Cassi Nomada explores moonlit motifs of joy-pain (the unavoidable presence of both together), family and cosmic connectivity.
➼ Read MoreEdges tremble in static technicolour, defeated by shards of shadow, drifting into a dreamland haze in Cody Critcheloe’s “Chips”
➼ Read MoreIn Freetown Veranda, artist Muzae Sesay paves roads and plants trees, closes the curtains and skirts the dock, furnishing each scene in scolding and rhapsodic hues.
➼ Read MoreRute Merk’s paintings are glitchy visions of consumerism, a search engine result for “fashion.” Smudge-faced androgynous models walk a psychedelic runway in Balenciaga, we can’t quite make them out. They’re shoddy memory implants, furnished with product placements.
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