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The article reviews the exhibition "One Day We'll Understand," featuring photographs and video installations by Sim Chi Yin, at the Zilberman Gallery in Berlin, Germany.

The article reviews the art exhibit "Sovereignty," featuring sculptures and video installations by Simone Leigh, at the 2022 Venice Biennale in Italy.

Informed by psychoanalytic theory, this essay analyses two major video installations, namely The Settler (2003) and Memory of a Square (2005) by Gülsün Karamustafa, who is one of the best-known artists from Turkey. These two works are concerned with similar themes, such as trauma, memory, subjectivity, and spatiality, through certain stylistic choices which allow them to be evaluated and studied from a Lacanian perspective. Elaborating on Lacan's topology of the Real in relation to trauma as well as his notion of extimacy, this paper argues that in both works, the questions of exterior/interior, reality/imaginary, and public/private are repeatedly posed and subverted, thereby creating spatio-temporal and epistemological ambiguity for the spectators. Both works include double-projection video installations, and the presence of the two screens with the simultaneous flow of images in each work not only mobilizes the viewer's memory and facilitates their unconscious, but also invites them to contemplate their own history, subjectivity, and experiences. [ABSTRACT FROM AUTHOR]

An interview with Antoine Wagner, a Franco-American photographer and video installation artist, is presented. Topics include how to create a kind of ecosystem of working in traditional theatrical space in a digital environment; and reversed game of musical chairs set to improvisations in which performers sit during the music and stand in natural environments with the harmony of art and nature.

Tuấn Andrew Nguyễn's My Ailing Beliefs Can Cure Your Wretched Desires (2017) suggests that human-nonhuman relations are at an impasse. In this double-screen video installation, two animal spirits of subspecies that have recently gone extinct in Vietnam—the Javan rhino and a type of giant turtle—debate the possibility of animal liberation from humankind. Vietnam is a country with one of the most complex natural ecosystems on the planet, but it has suffered devastating histories of ecocide and animal extinctions through long histories of colonial and neocolonial violence. What does it mean to grapple with the posttraumatic time of extinction, or the aftereffects of the apparently complete annihilation of a whole species? Nguyễn's video installation employs what I term an IPTSD aesthetic, or an aesthetic of interspecies and intergenerational posttraumatic stress disorder, representing long-term and collective trauma for animals. The video installation sweeps viewers up in an emotional rollercoaster—with its dizzying camerawork, affectively charged material, and dark, beating soundtrack—only to come to an apparent standstill in the debate for animal emancipation. Ultimately, how could we liberate animals from human violence? What could break the cycle? Mr. Rhino's Communist rhetoric and Madame Turtle' pacifist, Buddhist beliefs seem irreconcilable, yet the artwork interweaves a third perspective, drawing on Indigenous animist cosmologies in Vietnam to suggest the need for reimagined, interdependent human-nonhuman relations based on radical care, where people would recognize animal subjectivities and work toward interspecies empathy and long-term protection, toward stewardship of and solidarity with the Earth. [ABSTRACT FROM AUTHOR]

In the last two decades, African American poets working in innovative and avant‐garde forms have produced poetry focused upon the theme of racial objectification. Individual and collaborative projects by Dawn Lundy Martin, Duriel E. Harris, and Ronaldo V. Wilson, who write and perform together as the Black Took Collective, practice what this article calls a poetics of thingification: a poetry that draws attention to language's capacity for reification in general and for racial objectification in particular. Drawing upon thing theory and recent scholarship on race and avant‐garde poetry, this article focuses on Dawn Lundy Martin's poetics in order to demonstrate how poets combine innovative techniques with racial stereotypes to scrutinize hegemonic expectations at the level of poetic form, especially within the tradition of African American poetry. Rather than adopting the humanizing rhetoric and lyrical modes of conventional African American poetry, these poets use the trope of the objectified Black body to deconstruct linguistic processes of racial reification from within. [ABSTRACT FROM AUTHOR]

The article reviews the Aghdra, film installation by Arthur Jafa, at the at Gavin Brown's Enterprise, New York City, New York on December 5, 2021.

Curated Spaces features two projects by the artists and filmmakers Megs Morley and Tom Flanagan. The Question of Ireland (2013) is a cross-disciplinary film installation that attempts to provoke the relationship between the language of politics, performance, and cinema. A History of Stone, Origin and Myth (2016) is a nonnarrative film essay that explores the space between individual memory and national history through the lens of political monuments found throughout Ireland that relate to Irish rebellion, the 1916 Rising, and the foundation of the state. [ABSTRACT FROM AUTHOR]

In this article, I examine siren eun young jung's Yeoseong Gukgeuk Project, an ongoing contemporary art project about yeoseong gukgeuk, a Korean all-female performance form whose survival in the twenty-first century is marked by precarity. Situated at the intersections of archival documentation, ethnography, and visual art, I conceptualize the Yeoseong Gukgeuk Project as an archive of affect which establishes inter-Asian queer solidarities, mediated through reflections of my own encounters with the project at the Korea Artist Prize 2018 exhibition. [ABSTRACT FROM AUTHOR]

The article reviews the film installation exhibition "Telepathic Improvisation (2017)" by Pauline Boudry and Renate Lorenz at the Hammer Museum and the Institute of Contemporary Art, Los Angeles, California on October 22, 2021.

This paper presents a game-design workshop built around a digital art installation featuring video games displayed over a real-world skyscraper to stimulate students' interest in computer science and a study testing its short-term effects on improving middle school students' computational thinking (CT) skills and attitudes towards computing. Following a STEAM approach, the workshop aimed to engage participants in age-appropriate activities that focus on CT skills through the lens of creating their own game. A web-based game design interface that allows students to code and play games as simulated on a skyscraper was developed to support the workshop's core activities. The web environment also featured step-by-step tutorials and fully functional games to promote the accessibility of the learning materials for a diverse body of students and educators around the globe. The results of the study indicated that the workshop helped students improve their CT skills and differentially influence their attitudes towards computing. In particular, the workshop experience led students from underserved community districts to lower their attitude ratings, whereas the reverse pattern was observed for students from more affluent districts. The workshop reportedly informed students' perception of computing as a profession and their appreciation of the analytical effort required for developing functional games. Qualitative analysis of artifact-based interviews indicated that students could begin to make abstractions and devise algorithms by associating variables through conditional statements while solving problems related to game development. Interview analysis also revealed that students took pride in the effort that they made during the workshop. [ABSTRACT FROM AUTHOR]

In this essay, I review a 2019 exhibition at the Palais de Tokyo entitled When Saying Is Doing, which featured work by Angelica Mesiti, a contemporary Australian artist who works on questions of performance, immigration, and non-verbal communication in multi-screen moving image installations. On the contemporary global stage, if we do not share the same linguistic community or communities, how is human interrelatedness expressed through other forms of ordinary language, where "language" is now considered not as speech but rather as human expressiveness in its most diverse and complex manifestations? What happens when shared language is neither "speech" nor conversation in the linguistic sense? Needed here is a newly imagined vision of the communicability of human community that I refer to as "neighboring." Putting Mesiti's work in productive dialogue with Stanley Cavell and other critics, I examine how skeptical problems of isolation, privacy, and unknownness are potentially addressed and responded to in contemporary art. [ABSTRACT FROM AUTHOR]

Through the lenses of feminism and psychoanalysis, this essay traces the use of screens, both literal and metaphoric, in the performance and video-installation works of the multi-disciplinary artist Suzanne Bocanegra. These complex pieces engage with ideas around voyeurism, identification, and screen memory, evoking Bocanegra's idiosyncratic cultural history of the nineteenth and twentieth centuries. [ABSTRACT FROM AUTHOR]

The article examines that artist works across painting, sculpture and furniture design recently experimented with video and time-based installation as Peju Alatise has wed piercing social commentary with technical sophistication to create a prolific and diverse corpus of work. Topics include reports that A.N.A.I Alatise sought to create a space through which Nigeria artists might ponder what is native about contemporary Nigerian artistic practice; and considered that efforts to shift narratives and mindsets in recognition of the rights and power of women and girls has remained unwavering.

The following essay explores a video installation by Berlin-based artist Candice Breitz (b. 1972) titled Labour (2019) which presents us with graphic images of childbirth in reverse viewed from close up. The work casts light on the absence of birthing bodies in photography, moving images or other forms of visual art presented at art institutions, a topic not reflected upon in academic literature. Also, by portraying childbirth simultaneously as dying and killing, Labour starkly differs from mainstream visual culture representations, which tend to evade the more messy and unruly aspect of childbirth. The author situates the work in the context of recent interventions in theory and literature as well as Labour's feminist art precursors. These art works present us with a fearless, uncensored picture of the reality of childbirth in which the possibility that lives are rerouted, and people are damaged both physically and mentally, is palpable. As testaments of traumatic events that resist erasure from memory, these objects of art dissociate themselves from the present dominant ideologies surrounding reproduction to gesture towards an alternative future in which conditions for reproduction would be radically different. [ABSTRACT FROM AUTHOR]