Closer Still presents a new body of work by Brooklyn J. Pakathi, shaped around longing at its most vulnerable. The title speaks as both a command and a confession, holding together an urge to remain near and the uncertainty that such closeness entails.
The exhibition turns to that precarious interval where relation takes shape and where feeling acquires form through measure and clarity, it also composes nearness as a living practice and affirms that desire endures through the ways we look, the ways we wait, and the ways we remain.
Everyday Resistance has become a commodity. Especially in the art and cultural world, it is worn like a costume—a look to buy, a set of slogans memorized and dropped into conversations and presentations for credibility.
We exchange the endless supply of hippo memes with friends. We know, for sure, this is a capital G girl, not because of her biological sex or her social gender, but rather due to her aesthetic function.
For over a decade, I have been assembling an archive—an attempt to reconstruct and unravel the fragmented traces of my family’s experience of the war in Guatemala. Though personal in its origins, the archive has revealed itself as situated within a wider, entangled topography of collective history.
The habitational crisis is felt throughout European cities. However, not only are homes at risk, but also places to practice sport. The commodification of exercise or the lack of public infrastructure investment makes it necessary to create places of resistance.
I don’t know how many times I have asked this question and every time I enunciate it, a fear sets in the upper side of my stomach, a consciousness of my bad pronunciation, the anxiety for how it will be perceived by the person on the other side of the conversation.
Being an independent artist and an educator is becoming increasingly difficult in Slovakia. We live in a time when society is closing itself off into ideological frameworks in which otherness, critical thinking, and autonomy are no longer welcome.
Can women ever allow themselves to be “lazy”? Here’s how a group of young women from Central and Eastern Europe are shedding light on gender stereotypes and challenging productivity culture.
Due to numerous cancellations and censorship, one becomes an expert on how to archive and tell a story, reclaiming one’s right to speak while protecting oneself from potential legal accusations because of the text itself. It is an art we, the cancelled, are forced to master.
