Verdurin

Questions like “What does this mean?” are central to our encounters with art. “How are these signs connected?” or “how do all symbols fit into an unstated scheme?” are the foundational concerns of aesthetics. Yet, when the same concerns crop up regularly in almost any other part of life, we give a clinical, pathological name: paranoia. These questions were the makings of ⁠Paranoia⁠ , a symposium h...

Questions like “What does this mean?” are central to our encounters with art. “How are these signs connected?” or “how do all symbols fit into an unstated scheme?” are the foundational concerns of aesthetics. Yet, when the same concerns crop up regularly in almost any other part of life, we give a clinical, pathological name: paranoia. These questions were the makings of ⁠Paranoia⁠ , a symposium h...

Questions like “What does this mean?” are central to our encounters with art. “How are these signs connected?” or “how do all symbols fit into an unstated scheme?” are the foundational concerns of aesthetics. Yet, when the same concerns crop up regularly in almost any other part of life, we give a clinical, pathological name: paranoia. These questions were the makings of Paranoia , a symposium hel...

Liberal democracies don’t age gracefully. Established systems of governance like those of the UK and the US which once served as blueprints are today experiencing a profound crisis of legitimacy. In Britain, a landslide general election result was quickly followed by a catastrophic tumble in approval ratings. In the US presidential campaign, meanwhile, voters were told that democracy itself was on...

Not so long ago, comedy and laughter were a shared experience of relief, as Freud famously argued. At their best, ribbing, roasting, piss-taking and insulting were the foundation of a kind of universal culture from which friendship, camaraderie and solidarity could emerge. Now, comedy is characterized by edgy humour and misplaced jokes that provoke personal and social anxiety, causing divisive cul...

A recording of the "What We May Also Do" written by Oliver Bennett in response to Anna Sebastian's exhibition of the same title. Staged at Verdurin in July 2024. A woman approaches the gate of a walled city. Her admission depends on the depth of her moral liberation and embrace of boundless self-determination. A border guard assesses her character for its fit with the city’s society. In a series o...

Who do you turn to at the brink of the apocalypse? What might help us to mitigate the financial, commercial, political, social, and cultural collapse for which we may be heading?  Museums and Societal Collapse  proposes an unlikely hero in this narrative. Robert Janes’ text explores the implications of societal collapse from a multidisciplinary perspective and considers the potential museums have...

Artists Remake the World  puts forward an account of contemporary art’s political ambitions and potential. Surveying such innovations as evidence-driven art, socially engaged art, and ecological art, the book explores how artists have attempted to offer bold solutions to the world’s problems. Simoniti systematises the perspectives of contemporary art as a force for political and social change. At...

American democracy is in crisis. The economic system is slowly subjecting Americans of nearly all income levels and backgrounds to enormous amounts of stress. The United States lacks the state capacity required to alleviate this stress, and politicians increasingly find that if they promise to solve economic problems, they are likely to disappoint voters. Instead, they encourage voters to blame ea...

Then let the story really begin in 1968, though it has little to do with May. By chance it opens in January of that year, and it really concerns me rather than the world of political events, though these are always on my mind, as they were always on my mind.  Future Imperfect , Adrian Rifkin’s short Bildungsroman sets beside each other the fault lines of events and moments recalled without a diary...

On an afternoon in January 1865, a roaring fire swept through the Smithsonian Institution. Dazed soldiers and worried citizens could only watch as the flames engulfed the museum’s castle. Rare objects and valuable paintings were destroyed. The flames at the Smithsonian were not the first—and certainly would not be the last— disaster to upend a museum in the United States. Beset by challenges rangi...

On the centenary of the fascist party's ascent to power in Italy,  Curating Fascism  examines the ways in which exhibitions organised after the fall of Mussolini's regime to the present day have shaped collective memory, historical narratives, and political discourse around the Italian  ventennio . It charts how shows on fascism have evolved since the postwar period in Italy, explores repr...

In  Uncommon Sense , Craig Leonard argues for the contemporary relevance of the aesthetic theory of Herbert Marcuse, an original member of the Frankfurt School and icon of the New Left, while also acknowledging his philosophical limits. This account reinvigorates Marcuse for contemporary readers, putting his aesthetic theory into dialogue with anti-capitalist activism. Craig Leonard speaks to Pier...

NFT, BTC, DAO, ETH, WAGMI, HODL. It would have been hard to avoid these acronyms only a year ago. The hype around cryptocurrencies and blockchain art was almost as annoying as the glee with which crypto sceptics welcomed the sudden onset of the crypto winter. But for all the popularity of  Bored Apes  and Ponzi scheme stories, there seems to have been little serious engagement with the philosophic...

Visual Culture and the Forensic bridges practices conventionally understood as forensic, such as crime scene investigation, and the broader field of activity which the forensic now designates, for example, in performance and installation art, or photography. David Houston Jones speaks to Pierre d’Alancaisez about the evidentiary and forensic burden of art and photography, the artifice of crim...

During the first months of the pandemic, governments worldwide agreed that ‘following the science’ with hard lockdowns and vaccine mandates was the best way to preserve life. But evidence is mounting that ‘the science’ was all politics and time reveals the horrific human and economic cost of these policies. The Covid Consensus  provides an internationalist-left perspective on the world’s Covi...

For the past two decades, the arts and cultural establishment in the UK has been trying to engage a broader set of audiences in their work. Countless initiatives to make the arts more accessible to the public and to make them more relevant have been advocated for in policy and funding settlements. But the dial on who participates and how much has not shifted, despite many thousands of project...

Art has a long history of engaging with conflict and violence. From the antiquities, through Goya, to Guernica, our museums are filled with depictions of battles, pogroms, uprisings, and their suppression. Not all of these stories are told from the perspective of the victors. Many contemporary creatives have continued this tradition. While the position of the official war artist seems to have gone...

In the 1990s, a network of twenty Soros Centres for Contemporary Art sprung up across Eastern Europe: Almaty, Belgrade, Budapest, Kiev, Ljubljana, Prague, Riga, Sarajevo, Tallinn, Warsaw, and Zagreb among them. These centres, funded as their name suggests by Geroge Soros’ Open Society Foundation , had as their mission the cataloguing of dissident pre-1989 art and the introduction of new forms of a...

Why is the internet making us so unhappy? Why is it in capital’s interests to cultivate populations that are depressed and desperate rather than driven by the same irrational exuberance that moves money? Sadness is now a design problem. The highs and lows of melancholy are coded into social media platforms. After all the clicking, browsing, swiping and liking, all we are left with is the flat and...

It’s easy to forget that the cultural archetypes that pass for queerness today have historical roots. Some of these roots are mere years away from today’s reality but they are nonetheless distinct and come with their own artefacts and subcultures. Peter Rehberg’s book Hipster Porn looks at one such source artefact and its fandom, using as its matter the pink-papered magazine Butt which gained a cu...

Since the global financial crash of 2008, artists have become increasingly engaged in a wide range of cultural activism targeted against capitalism, political authoritarianism, colonial legacies, gentrification, but also in opposition to their own exploitation. They have also absorbed and reflected forms of protest within their art practice itself.  The Art of Activism and the Activism of Art...

Decolonisation has lost its way. Originally a struggle to escape the West’s direct political and economic control, it has become a catch-all idea, often for performing ‘morality’ or ‘authenticity’. In Against Decolonisation , Olúfẹ́mi Táíwò fiercely rejects the indiscriminate application of ‘decolonisation’ to everything from literature, language and philosophy to sociology, psychology and medicin...

Art after Liberalism is an account of creative practice at a moment of converging political and social rifts – a moment that could be described as a crisis of liberalism. The apparent failures of liberal thinking are a starting point for an inquiry into emergent ways of living, acting, and making art in the company of others. What happens when the framework of the nation-state, the figure of the e...

In 2008, the artist Renzo Martens released his controversial film Episode 3: Enjoy Poverty filmed in the Democratic Republic of Congo. The film portrayed the artist as a colonial explorer travelling around the Congo’s plantations with the naiveté of the cartoon character Tintin. Martens encounters poverty, hunger, and abuse, all the while narrating the way in which these experiences enrich him as...