Rosemary Mayer’s Image-Text Works
Rosemary Mayer: Words in Art are Signs Returned, an exhibition at the Wallach Art Gallery at Columbia University, turns to Mayer’s lesser-known body of work with the written word, reconsidering the artist’s legacy in relation to feminist and conceptual practices. Curated by Farren Fei Yuan, the exhibition presents a range of Mayer’s image-text work, from large-scale artist’s books and literary magazines to a wall-mounted mixed-media series, displayed for the first time in its entirety.
Seeing Without Light by Nadia Kaabi-Linke – An exhibition in the flesh
The trace is probably the point at which everything converges in Nadia Kaabi-Linke's work. The trace of violence—of the many different forms of violence inflicted upon our cities, our bodies, our minds, our memories, and even upon our dreams.
In Solidarity with Palestine: On Empire, Continuity, and Interruption
“In Solidarity with Palestine”, an exhibition featured at Darat al Funun in Amman, Jordan, was conceived as a spontaneous reaction to the intensification of the perpetual brutality inflicted upon the Palestinian people. The exhibition honors the unremitting relevance of the archive of the Khalid Shoman Foundation.
Intuition and Play: Joining the Mundane & Mystical through the Lens of Childhood
Intuition and Play: Joining the Mundane & Mystical through the Lens of Childhood. On the work of Luna Izpisua Rodriguez.
In Conversation: Souvenir – Justine Daquin in conversation with Ohan Breiding and Shoghig Halajian
Artists Ohan Breiding and Shoghig Halajian are collaborators who come from divergent backgrounds, spanning photography, moving-image work, and curatorial practice. For this project, they worked with Ohan’s family member Mineko Ikehashi, who shares her experience of surviving a tsunami.
![Anh Tran: Et puis, un jour, mon amour tu sors de l’éternité [“and then, one day, my love, you will come out from eternity”]](https://images.squarespace-cdn.com/content/v1/5fff5aabf9f4e55d12aff082/1698250003094-C025C83XM5Y1F3DZAMI8/Screen+Shot+2023-10-25+at+6.04.30+PM.png)
Anh Tran: Et puis, un jour, mon amour tu sors de l’éternité [“and then, one day, my love, you will come out from eternity”]
“I don’t want to deliver an interpretation. I want to leave it off to the viewer to choose the meaning. These are my hope and wish and it relies a lot on spirituality and the individual experiences that viewers are bringing with them when they come to see the paintings. The more I paint, the more it becomes fictional in a way.“ — Anh Trần
Hannah Black’s “Politics” (2022) and “Broken Windows” (2022)
Based in Marseille [France], Hannah Black’s creative approach harmoniously integrates thought and emotion, through written texts, prints, videos, sculptural installations, or performances. She is most notably recognized for co-authoring alongside writer Ciarán Finlayson and critic Tobi Haslett, The Tear Gas Biennial an impactful open letter in which they critiqued, the co-chair of the Whitney Museum's board Warren Kanders, for his controversial philanthropic initiatives funded by the sale of tear gas and various weaponry through the American equipment company Safariland.
Together: Rosa Anschütz
For Speciwomen’s Together series, Hugo Scheubel met with Rosa Anschütz to discuss her influences and thoughts as a musician, writer, and artist, and the courage she gathered to look within herself to then dare her listeners to look at what she is, at last, observing.
In Conversation: Agnes Questionmark
“In my work, I try to recreate that sort of hybrid experience in which I am half human, half sea creature – half terrain, half marine creature. I think since I was a child I always had this strong connection with the sea in a very existential way. There was this possibility of becoming a fish, feeling at home, at ease in a marine environment. It was so natural for me to swim under the water, to breathe under the water, it really changed something in my mind. I don’t feel human – I feel my brain has expanded in that way. Underwater feels like my habitat.” — Agnes Questionmark
![Vous les Entendez? [Do You Hear Them?]: Laura Lamiel’s Solo Exhibition at Palais de Tokyo ](https://images.squarespace-cdn.com/content/v1/5fff5aabf9f4e55d12aff082/1694446181964-JBVDNUEWZ66R8SDBLHQ7/PdT-2023-Laura-Lamiel-016.jpg)
Vous les Entendez? [Do You Hear Them?]: Laura Lamiel’s Solo Exhibition at Palais de Tokyo
For more than four decades, Laura Lamiel has been crafting a body of work characterized by a unique formal consistency, delving into various states of perception, cognition, and emotion. Through the artful arrangement and juxtaposition of found objects, raw materials, colors, and lights, her creations unveil spaces that straddle both the tangible and the psychological.
Senga Nengudi: Spirit Crossing at Sprüth Magers, New York
Nengudi’s work has historically existed at the periphery of the art world - deemed too specific for the white women of the conceptual art movement to relate to, and too conceptual to be considered among other Black artists of her generation. (2) Nengudi’s remarkable body of work has resisted the confines of categorization. Consequently, its influence has spanned several decades, defying space and time - allowing itself to have applicability on varying scales - global, local, modern, and historic.
In Conversation: Taína Cruz
Taína Cruz is an archivist, artist and researcher based in New York. Curator and writer Charlotte Youkilis spoke with Cruz about her image-making practice, browser-based works, and spirituality.
Camille Liu and Kasia Wozniak in conversation at Sarabande Foundation
Photography is in a very strange place, and I’m definitely chasing the tangible aspect of it.
Kenturah Davis: Dark Illumination at OXY ARTS
Kenturah Davis' practice is often situated in obscure and shadowy spaces such as these, in twilight zones that evade omniscient thinking, turning our flimsy blueprint constructions of perception into slippery jello. Davis makes us sensitive to the emergent vibrations that echo in the pit of a shadow, in the shadow beneath another shadow's shadow, rippling and cascading outward and falling back in on itself.
Shellyne Rodriguez’s Third World Mixtapes: The Infrastructure of Feeling
Shellyne Rodriguez’s Third World Mixtapes: The Infrastructure of Feeling is the artist’s first solo exhibition with PPOW. The show features 22 colored pencil drawings on black paper. Drawing upon specific relationships from Rodriguez’s everyday life in the Bronx, her work transcends space, and time. Through her work at large, Rodriguez poses larger questions about our relationships with one another and our collective struggle for liberation.
Okay Kaya’s New Album, SAP, Is A Concept Album About Consciousness
Francesca Harvey, friend of Speciwomen, reviews Okay Kaya’s newest record, SAP, out now on Jagjaguwar.
In The Studio: Ana Benaroya
Speciwomen friend and colleague, founder of Dizzy Magazine, Milah Libin spoke with Benaroya about possibilities, reference and X-Men.
Kazuko Miyamoto at Japan Society
In The Studio: Asa Hiramatsu
Exclusive re-transcription of Philo Cohen’s visit to Tokyo-based painter Asa Hiramitsu from 2018.
Jeanne Revay: An artist’s sleight of hand
Jeanne Revay just turned 33, the age of prophecies and epiphanies. A visit to her Paris studio can offer such an epiphany. That of a formidably gifted hand, that of a young woman with a surgeon’s obsession for the hand and the lines it can conjure up out of ashes.
Of those 33 years, Jeanne has lived 25 of them just across the street from the Rodin Museum in Paris. She has grown up visiting her neighbor’s accumulation of works in plaster, in marble, and in bronze. Such daily proximity is enough to trigger a destiny. To become an artist. And Jeanne is certainly not the first one to be enraptured with Rodin. She does admit a secret kinship with Camille Claudel and her daring lyricism, perhaps even less constrained than that of Rodin.