Cecilia Vicuña’s Incomplete Elegy

More Adam Curtis, please; art surviving imperialism; the boundaries of parenthood; on 'Black Melancholia' |

View this email in your browser The Art of 'Awareness' This week, Cecilia Vicuña unveiled her Brain Forest Quipu (2022) at Tate Modern's Turbine Hall in London. Two 27-metre-long sculptures tower over visitors – constructed out of netting, rope, cardboard and artefacts mudlarked from the banks of the Thames – and immersing us, as Sarah Jilani writes, 'in the undeniable vitality of a living, breathing indigenous worldview'. This reinterpretation of an ancient Andean tradition feels urgent and powerful, to be sure, but there is an unfulfilled potential too, Jilani argues, in the artist's claims to political consciousness. Meanwhile, Tom Whyman watches Adam Curtis's new series TraumaZone, the filmmaker's account of the Soviet Union's descent into death-cult authoritarianism, while observing the UK's own distinctively 'late Soviet' flavour these days; curator Larry Ossei-Mensah discusses his show Ghosts of Empires II (on view at Ben Brown Fine Arts in London) which takes its title from a 2010 book by the freshly-fired Chancellor of the Exchequer; reviews of Ghislaine Leung and Black Melancholia from our critics in New York; and Max Crosbie-Jones looks to the rich past and precarious future of collective art practices in Thailand. En Liang Khong, Director of Digital Incomplete Elegy The Chilean artist Cecilia Vicuña's Turbine Hall commission at Tate Modern, London is an assertion of cultural resilience and ecological emergency – but leaves something to be desired, finds Sarah Jilani. read now Angel of History TraumaZone tells the story of what happened in the former Soviet Union as first Communism, and then the liberal democracy ostensibly installed there in the aftermath, collapsed – but Adam Curtis's own voice, Tom Whyman finds, is strangely submerged. read now Art Surviving Imperialism ArtReview sat down with Larry Ossei-Mensah, the curator of Ghosts of Empires II at Ben Brown Fine Arts, London, to discuss diasporic communities, art economics and unexpected connections. read now Talk: 'How to Exist Together' Join us tonight for a conversation between Mark Rappolt, Sook-Kyung Lee, Naiza Khan and Taiki Sakpisit – organised by the Gwangju Biennale Foundation and ArtReview, hosted by Korean Cultural Centre UK. RSVP Collective Practice Under Threat Max Crosbie-Jones explores the political activism, temporary networks and pent-up frustrations shaping art collectives and collective work in Thailand, now under threat. But is the real truth that it is as innocuous as it is important? read now Better Attuned Owen Duffy attends Black Melancholia at CCS Bard, New York, which, through the work of 28 artists of African descent, mines the blues – literally and metaphorically – to examine the haunting wounds of the past. read now Porous Boundaries Ghislaine Leung's Balances at Maxwell Graham / Essex Street, New York – as reviewed by Maddie Hampton – positions the work of the artist with the fluctuating and constant compromise of parental responsibilities. read now Kith and Kin Suddenly 'family abolition' seems like a timely idea. But what, Tom Whyman asks, would it actually mean, at this point? And even if we could, should we? 'We wouldn't need to "privatize" care', he writes, 'if we didn't also need to be cared for.' read now Not subscribed yet? Sign up to ArtReview's newsletters © 2022 ArtReview Ltd. All rights reserved. You are receiving this email because you opted in at www.artreview.com or the previous digital magazine website Our mailing address is: ArtReview Ltd. 1 Honduras Street London, England EC1Y 0TH United Kingdom Add us to your address book Want to change how you receive these emails? You can update your preferences or unsubscribe from this list.