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ArtReview October 2021

ArtReview October 2021

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With return-to-work orders in place and the artworld shifting fully back into gear, ArtReview this month is focused on examples of networks, collaborations, cosmologies and kinship, seeking refresher courses in how to interact with the outside world. Among the people and topics covered: Torkwase Dyson, Jaider Esbell, Deana Lawson, Anicka Yi and the gradual disappearance of an underground art scene in London. Plus columns on racist memorials, environmental catastrophes and the role of technology in creating a sustainable future, and reviews of major art events including the Bienal de São Paulo, as well as tours around Berlin’s and Copenhagen’s most interesting spaces.

What's inside the issue?

Art Previewed
The Interview Anthea Hamilton
by Ross Simonini
Life’s a Beach by Ben Eastham
Technologies, Climate Change and Painted Mandalas by Stuart Munro
Racism and Memorials in the City of London by Stewart Home

Art Featured
Torkwase Dyson by Mark Rappolt
Anicka Yi by Gary Zhexi Zhang
London’s Underground Art Scene by Chris Fite-Wassilak
Deana Lawson by Fi Churchman
Jaider Esbell by Oliver Basciano

Art Reviewed
Women in Abstraction, by Digby Warde-Aldam
Paula Rego, by J. J. Charlesworth
Martine Syms, by Evan Moffitt
Tala Madani, by David Terrien
Gillian Steiner, by Cat Kron
Born Again Berlin, by Martin Herbert
Hetain Patel, by Mark Rappolt
34th Bienal de São Paulo, by Oliver Basciano
11th Seoul Mediacity Biennale, by Andrew Russeth
Genre-bending in Copenhagen, by Rodney LaTourelle
Steirischer Herbst 21, by Christian Egger
Yael Bartana, by John Quin
Kerstin Brätsch and Eduardo Paolozzi, by Ana Vukadin
Manchester International Festival, by Susannah Thompson

Books
No. 91/92: Notes on a Parisian Commute, by Lauren Elkin, reviewed by Ben Eastham
Investigative Aesthetics: Conflicts and Commons in the Politics of Truth, by Matthew Fuller and Eyal Weizman, reviewed by Mark Rappolt
Fifty Sounds, by Polly Barton, reviewed by Adeline Chia
Strangers on a Pier, by Tash Aw, reviewed by Louise Darblay

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