SHIFT by Mamela Nyamza (extracts)

Suely Rolnik: Arquivo para uma obra-acontecimento

Read the article by the psychoanalyst Suely Rolnik on the artist Lygia Clark hERE

Artist-in-Residence: Filipa Almeida

Jalal Toufic: Forthcoming

The Atlas Group, "we decided to let them say we're convinced twice" , 1999-2004

" With regard to the surpassing disaster art acts like the mirror in vampire films: it reveals the withdrawal of what we think is still there. " Jalal Toufic, Forthcoming.

Berlim: Curators on the Move

" ... floating cities of the future, whose structures, similar in construction to cells or clouds, mean that the inhabitable platforms can subdivide and re-emerge, allowing them to change their form and composition constantly. " 

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BERLIM: CURATORS ON THE MOVE | ROSANA SANCIN | ARTECAPITAL.NET

Isaac Julien: Encore

Check Isaac Julien's film installation Encore II (Radioactive) hERE

Runa Islam: Emergence

"British artist Runa Islam (b. 1970, Dhaka, Bangladesh) primarily uses the medium of film in austere and minimal installations that combine a rigorous logic of conception with a highly poetic style. They often take the conventions, histories, materiality, and grammar of film—its language of framing, panning, zooming, editing, and projection—as the bases for structural investigation and narrative experiment. Astutely aware that perception of the world is mediated by cinematic and technological representation, Islam positions her images on the boundaries between visibility and invisibility, legibility and silence, stability and instability, syntactical simplicity and symbolic complexity. "

Emilie Jouvet: Roof

Ghada Amer: The Woman Who Failed to Be Sheherezade

"I believe that all women should like their bodies and use them as tools of seduction, " Amer stated; and in her well-known erotic embroideries, she at once rejects oppressive laws set in place to govern women's attitudes toward their bodies and repudiates first-wave feminist theory that the body must be denied to prevent victimization. By depicting explicit sexual acts with the delicacy of needle and thread, their significance assumes a tenderness that simple objectification ignores. Amer continuously allows herself to explore the dichotomies of an uneasy world and confronts the language of hostility and finality with unsettled narratives of longing and love. Ghada Amer's work addresses first and foremost the ambiguous, transitory nature of the paradox that arises when searching for concrete definitions of east and west, feminine and masculine, art and craft. Through her paintings, sculptures and public garden projects, Amer takes traditional notions of cultural identity, abstraction, and religious fundamentalism and turns them on their heads .

More about Ghada Amer hERE