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The Venice Biennale’s 'Foreigners Everywhere' Has Global Aims. But It’s At Its Strongest When It Looks Inside, Not Out

Curating, simplified to its barest bones, is an act of pairing. But is it meaningful to see an Angolan artist and a Saudi-Palestinian artist use a similar methodology to discuss distinct political concerns? In Kiluanji Kia Henda’s 2015 The Geometric Ballad of Fear, photos of homes are prismed through the metal bars in intricate shapes found in buildings across Luanda. Those actual railings are then used to assemble a large sculpture, A Espiral do Medo, 2022.

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