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Through a sustained engagement with The Precarious Life of the Parol, an installation art exhibition by the Filipinx artist Diane Williams, this essay theorizes "brown gathering": a quotidian practice of archiving that mobilizes the kinship networks of minoritarian subjects as an affective and circulatory infrastructure of collecting, preserving, and (re)signifying the objects of brown life. Brown gathering simultaneously attests to the intimacies of state violence and the practices of minoritarian subjects. In Parol, named after a Filipinx Christmas ornament of Spanish and native origin, Williams turns toward this curatorial practice of making art with trash objects as a way to reckon with the archival absences of Philippine history. This investigation of Williams's pieces, all made from trash objects that her family donated to her, concerns three categories: skeletal frames (wood and wire), used to explore archives of excess and mess; plastics, used to speak about the temporality of diaspora; and discarded food containers (SPAM cans and sauce mixes), used to theorize the politics of the brown body. These objects, like the brown subjects that signify them, are testaments to the ongoing plunder of empire and to what empire jettisons around the world. [ABSTRACT FROM AUTHOR]

This paper takes as its starting point the forcible closure of an art exhibit at the 2015 Venice Biennale in order to illustrate wider dynamics of rising Islamophobia across Europe today. THE MOSQUE was the Icelandic national contribution to the Biennale, an exhibit that lasted only two weeks before being shut down by the local authorities for ‘public safety reasons’. Presented in its press release as ‘merely a visual analog’ of a mosque, the installation was made ‘real’ as the Venetian Islamic community began using it as a site for gathering and prayers, an all-too-real performance that sparked protests and brought the installation’s closure. The fate of THE MOSQUE is a compelling story that speaks to a series of broader struggles over visibility and invisibility, and over who and what has the right to appear in the landscape of a European city. It speaks to the phantom menace of a fetishized Islam that is haunting Europe today, as nativist and anti-immigrant movements mobilize against perceived threats to imagined urban orders. [ABSTRACT FROM PUBLISHER]

Blurring the lines between public and private language by displaying a series of hand-written letters and envelopes sent through the mail, Susan Jahoda’sFlight Patternsquestions if the demarcation between public and private language is ever really possible. As a matter of central importance to studies of performance and rhetoric, ultimately, Jahoda suggests that performances of the self are constructed by language that is unavoidably, and simultaneously, public and private. The act ofaddressingis a rhetorical performance, or a performance of rhetoric, for the ways in which language both demarcates and blurs the boundaries of self and other. [ABSTRACT FROM PUBLISHER]

Diastrophisms is a sound installation with a modular system that sends images through rhythmic patterns. It is built on a set of debris from the Alto Río building that was destroyed by the 27F earthquake in 2010 in Chile. Diastrophisms explores poetical, critical and political crossings between technology and matter in order to raise questions about the relationship between human beings and nature, to consider the construction of memory in a community by questioning the notion of monument, and to imagine new forms of communication in times of crisis. [ABSTRACT FROM AUTHOR]

CGP London: The Gallery/Dilston Grove, 13 October-27 November 2016 [ABSTRACT FROM AUTHOR]

The article discusses the traveling art exhibition and catalog "Hélio Oiticica: To Organize Delirium," which was held in 2016 and 2017 at locations including the Carnegie Museum of Art in Pittsburgh, Pennsylvania, the Art Institute of Chicago in Chicago, Illinois, and the Whitney Museum of American Art in New York City. The catalog features texts by authors including Lynn Zelevansky, Elisabeth Sussman, James Rondeau, Donna De Salvo, Adele Nelson, Guilherme Wisnik, Martha Scott Burton, Anna Katherine Brodbeck, Max Jorge Hinderer Cruz, Frederico Coelho, Sergio B. Martins, and Irene V. Small.

The article reviews the exhibition "Propaganda" at Lopez museum, "Bencab in Two Movements" at Yuchengco museum, and "Open Ends" at the Lopez Museum in Philippines during 2015.

The performance installation Exhibit A and B by South African theatre artist Brett Bailey has been touring Europe since 2010. Its twelve tableaux vivants provide a selective survey of European racial histories interspersed with displays of contemporary African refugees. It has increasingly provoked opposition by antiracist activists who compare the show to a ‘human zoo’ that objectifies black performers, facilitates emotional release for white European audiences, and benefits only the white director. In London, protests led to the cancellation of the show. This article examines these charges and sets them in the context of Afro-German theatre and activism. It advances an alternative reading of Exhibit B as a two-pronged intervention in European discourses of security on the one side, and in the restructuring of European museums on the other. [ABSTRACT FROM PUBLISHER]

The article discusses the transdisciplinary project called "Sun Farm" located in the Hudson Valley in the state of New York. Topics include a description of the project, the author's assessment of the individual exhibits in the project including the land artworks "White Square" and "Square Field," and the multimedia artwork "Finding the Axis Mundi" and a reflection on the relationship between the human body and the cosmos as the core of the art practice.

The article reviews the exhibition "Remnants of an Electronic Past" at the Centre for Chinese Contemporary Art in Manchester, England from August 18-October 9, 2016, which featured the works of Xu Wenkai, also known as aaajiao, focusing on the Windows Gravestone installation.