Afterall, These Years (2017-2018): A Winter of Performance and Collective Action

Afterall Journal 46

Contents

Foreword– Anca Rujoiu

Min Thein Sung, Another Realm: Horses, 2015, linen, aluminum, copper wire, rope, dimensions variable. Installation view, ‘812 Asia Pacific Triennial of Contemporary Art (APT8)’, Brisbane. Collection of Queensland Art Gallery, Brisbane. Photograph: Min Thein Sung. Courtesy the artist

Jonas Staal, stills from Steve Bannon’s film Generation Zero, 2010. Installation view, ‘Steve Bannon: A Propaganda Retrospective’, Het Nieuwe Instituut, Rotterdam, 2018. Image: Remco van Bladel and Jonas Staal. Courtesy Jonas Staal and Het Nieuwe Instituut, Rotterdam
Janet Lilo, Right of Way, 2013. Installation view, Artspace, 5th Auckland Triennial. Courtesy the artist
Lee Wen, Dreamboat, 1998, performance, Werkleitz Biennale, Tornitz and Werkleitz. Photograph: Andrew Costas Otero. Courtesy the artist
Lee Wen, Anthropometry Revision: Yellow Period (After Yves Klein) #2, 2008, performance, SooBin Art Int’l UBI Warehouse, Singapore. Courtesy the artist
Mujeres Creando, Espacio para abortar (Space for Abortion), 2014. Installation view, ‘318 Bienal de São Paulo’, 2014. Copyright: Leo Eloy and Fundação Bienal de São Paulo. Courtesy Mujeres Creando and Fundação Bienal de São Paulo
Group Material, A Chronicle of US Intervention in Central and Latin America, 1984. Installation view, ‘For Artists Call Against US Intervention in Central America’, MoMA PS1, New York, 1984. Photograph: Dorothy Zeidman. Courtesy the artist and Four Corners Books, London
Chto Delat, #17, The New Dead End Street. Summer School of Orientation in Zapatism, 2017.
© Chto Delat. Courtesy the artists and KOW, Berlin
Kader Attia, Arab Spring, 2015, installation and performance, 16 broken museum showcases, bricks, stones. Installation view, Galleria Continua, Le Moulin, 2015. Photograph: Oak Taylor-Smith. Courtesy the artist and Galleria Continua, San Gimignano/Beijing/Les Moulins/Habana
Kader Attia, Repaired Broken Mirror, 2013, sculpture, mirror, wire. Installation view, ‘Repairing the Invisible’, S.M.A.K., Ghent, 2017. Photograph: Dirk Pauwels. Courtesy the artist and Galerie Nagel Draxler, Berlin/Cologne
Lorraine O’Grady, Untitled (Mlle Bourgeoise Noire removes the cape and puts on her gloves), 1980–83/2009, silver gelatin print, 23.83 × 17.78cm. © Lorraine O’Grady/Artist Rights Society (ARS), New York. Courtesy the artist and Alexander Gray Associates, New York
Raoul Peck, I Am Not Your Negro, 2017, film, 1h 35min. Courtesy the artist and Altitude Film Distribution, London

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