The Editorial Magazine

Hamishi Farah plays with the power of representational portraiture and metaphor as a means of dissecting and questioning Blackness within political and iconographic representation.

Life’s more complex and mysterious facets—death, love, sex—somehow feel easier to understand when euphemistically padded through the iconography of the animal kingdom.

“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.

In 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’.

Patterns embrace their like and unlike in Zoé Blue M’s Passionate Attitudes.

There’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.

Interview 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…

Nora Rosenthal on the eroticism of road movies and the joy of being a passenger.

To 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.

Sayre 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.

Painter Cassi Nomada explores moonlit motifs of joy-pain (the unavoidable presence of both together), family and cosmic connectivity.

Edges tremble in static technicolour, defeated by shards of shadow, drifting into a dreamland haze in Cody Critcheloe’s “Chips”

In 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.

Rute 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.