The current rush of attention to technologies of “artificial intelligence” (AI), ranging from governmental funding programmes to advertising campaigns for consumer products and mainstream movies, is indicative of a fundamental concern about the societal repercussions
In his Natural History (77 CE), Pliny the Elder, admiring the many varieties of coloured glass, notes that “the highest value is set upon glass that is entirely colourless and transparent, as nearly as possible
Ceramics are an ideal case study in the aesthetics of destruction. While a ceramic object can be preserved for centuries, it is always haunted by the chance that it might slip from unsteady hands or
Last year, Sheep Pig Goat, the UK-based company Fevered Sleep’ project, was commissioned by the Wellcome Collection as part of their year-long Making Nature program, which explored the relationship between perception and knowledge in human-animal
[text available in French only]. The critic (and member of the Editorial comity of ESPACE art actuel magazine) Mathieu Teasdale publishes an analysis of several works by artist Jeremy Shaw.
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Illuminated signage tiles set on the floor of a museum’s exhibition space spell out, in bold black letters, MUNDOS. This sign has been salvaged from a bar in Ciudad Juárez, a city in the northern
The upheavals of the 20th century—the end of a European political order that had held sway for almost a thousand years, two world wars, the rises and falls of imperialism, communism, and fascism—have had echoes
At this stage in the development of the global war on terror, it would be hard to be startled by the rhetoric of prevention and preventability that has tinted the aftermath of each of its turning points (…)
The natural border is the only true border, indisputable, absolute. The others are only imitations, human constructions unable to equal natural perfection.
Does the gravity of ecological content exonerate artists from having to be concerned with form? The formal meagreness of some exhibitions “dedicated to the cause” might lead one to think so. These assembled ecologically
Our society’s rituals of consumption are marked out in prehistoric time. Ossified imagination fuels the quest for energy, propels drilling deeper and deeper into the ground. However, the forthcoming risks associated with oil extraction
Over the last fifteen years, numerous curators and critics have tried, through theoretical exhibitions, to redefine the role of art in relation to ecology – to find the right relationship between them.1 Perspectives