Under the extreme political controversy surrounding the Barbur Gallery in Jerusalem, and in the shadow of the political decision to evict the gallery from its current space, Lonnie Monka talks with Abraham Kritzman, an artist and the gallery’s curator, about being an artist-led institution, curating and writing about art, and the concern that the political struggle will overshadow the attempt to make art.
How should art institutions respond to the current political climate? Michal B. Ron reviews Paper Monument’s recent book, in which various art professionals offer their propositions to six perceptive questions.
From researching and re-imagining a 1943 exhibition of modern Lebanese art in Jerusalem to writing for a leading independent arts magazine, to being part of an artist-run gallery in Brooklyn, Hakim Bishara has been experimenting with various practices in the past few years. David Duvshani recently met the Palestinian writer, curator, and artist in New York for a conversation about these multiple ventures and about the New York cultural scene in the Trump era.
The 6th Athens Biennale expressed the need for an urgent new self-identification of the confused contemporary community, either in local or in international terms - an urgent need of a new “revolution” that would define the 21st century. Christos Paridis writes about the exhibition, which he describes as an adult playground for those who are seeking questions or answers to present and future nightmares.
“There is no curatorial passivism, any more than there is a passivist war.” Michal B. Ron reviews Maura Reilly’s book Curatorial Activism: Towards an Ethics of Curating and adds a note about the heroless politeness of the recent Berlin Biennial.
"The future of curatorial practice has to be shared, democratic, and incorporating many voices." Bar Yerushalmi interviews Adrian George, Director of Exhibitions at ArtScience Museum in Singapore, former Deputy Director of the UK Government Art Collection, and author of The Curator's Handbook
In light of the recent criticism of documenta 14 and the Venice Biennial, Noah Simblist returns to the book/magazine issue “Curating Critique,” to comment on whether and where curating and criticality might meet today.
Revital Lessick offers quick drawings in reaction to exhibitions, specific works, and art events
With a rich display of over 200 artifacts, the Metropolitan Museum exhibition “Jerusalem, 1000-1400,” subtitled “Every People Under Heaven,” intended to introduce the viewers to a peaceful, spiritual, culturally and religiously diverse place, which they imagine the city of Jerusalem to be. Rula Khoury visited the exhibition and came back with some thought-provoking questions.