Can an artwork manifest itself through the audience’s or participants’ willing entanglement within the intricate network of an artist’s densely populated research space? Exploring process-based, or database-centred archival modes of knowing and commoning, through the Ryoji Ikeda exhibition at Amos Rex.

At first glance, Exquisite Tension (2005) may look like one of Boyce’s most unassuming works. When viewing the 4-minute video work for the first time, one is confronted by an apparently casual rendition of a simple ritualised action, yet set in a scene with a combination of actions unfamiliar to us as an everyday experience. In it, the hands of the artist plait the hair of performance artist Guillermo Gómez-Peña and curator Adelaide Bannerman, friends to Boyce but perhaps strangers to each other, where the latter is invited to be a stand-in for the artist during the recording of the work.

Giorgio Griffa’s practice is one where what he may have to say is less important than what you and I, as viewers, may have to imagine. Griffa stated this unequivocally when he said in 1972, “I don’t represent anything, I paint”. His work has always sought to move beyond the prescriptive ordering of surface, intuitive marks, and exuberant colours, instead pushing to question the medium’s relationship with knowledge. Inherent in Griffa’s practice is a proposal that what a painting ‘is’ is not nearly close to what a painting ‘could be’  – a holder of existential potentialities, an engine of possibilities driven by its audience.

Rasheed Araeen is best known for his formal, geometric sculptures, often created from simple, sometimes industrial materials that renounce traditional sculptural hierarchies and compositional concerns. He has been an ardent advocate of postcolonial and decolonial positions as put forward in the magazine Black Phoenix (co-founded by Araeen in 1978–1979) and later in Third Text (founded by Araeen in 1987). As curator of the landmark exhibition “The Other Story” (Hayward Gallery, London 1989), Araeen has continually challenged knowledge(s) fortified through histories of coloniality and hegemonic discourses of Western modernism.

Ali Akbar Mehta interviews Hiwa K. on navigating the capitalistic system of art, ‘urgency’ of climate change and notions of homeland.

This review of Pilvi Takala’s Close Watch, exhibited at the Finnish pavilion of the Venice Biennale, seeks to question whether issues pertaining to embodiment and social intervention – and by extension, research conducted and artistic practice developed through it – can ever be free of the power relations implicit in the political, identity-driven understanding of society today.

Written as a contribution for the Impossible Reader 2020titled*, How to work together?* Seeking models of solidarity and alliance, published by the Museum of Impossible Forms in 2021

Kirjasto/ Library does not formally announce a thematic drive at its outset, but situates itself within an abstract idea ‘archiving’, or of what a collection, library, or an archive could be.

“The Museum of the Future was published in 1970. 43 contributions to the discussion about the future of the museum. 50 years later, a publication brings together 43 new contributions by international authors from museum practice, from theory, education, art and architecture. They create concrete visions of a museum of the future: confident and doubtful, critical, clearly positioned and subjective. What do visions of the future accomplish and what do they make impossible? How empowering or disempowering are speculations about the future for a change in the museum of the present?”

A Cyber Archive of Questions is an essay published in ‘cohabitant/mutants’, Restricted Fixations, issue one – an independent zine curated and edited by Renuka Rajiv.