VISUAL HISTORIES IN A WATERY LAND: SOSA JOSEPH’S ‘PENNUNGAL: LIVES OF WOMEN AND GIRLS’ AT DAVID ZWIRNER

VIETNAM'S AVANT-GARDE CINEMA SHINES AT THE SAIGON EXPERIMENTAL FILM FESTIVAL

POST-IRONIC FEMININITY RULES IN THE TUMBLR-ESQUE FEVER DREAM OF 'OBSIDIAN UPSET'

EMBRACING THE UNEASE: 'HOLDING PLACES' AT BELMACZ

“I AM THE SUBJECT OF MY WORK, NOT SOMEONE ELSE’S OBJECT”: PENNY SLINGER’S 'EXORCISM: INSIDE OUT' AT RICHARD SALTOUN

PLEASURE AS RESISTANCE: AJAMU X'S 'A SENSUAL CHORUS OF GESTURES' AT AMANDA WILKINSON

GORAN DEVIĆ ON 'PAVILION 6' AND COVID CINEMA

"THE ATROCITIES WERE REALLY SHOCKING TO HEAR": MEENA NANJI & ZIPPY KIMUNDU ON 'OUR LAND OUR FREEDOM'

SHEFFIELD DOC FESTIVAL WINNER MAJA NOVAKOVIĆ ON 'AT THE DOOR OF THE HOUSE WHO WILL COME KNOCKING'

REVIEW | SOME DEMON AT THE ARCOLA THEATRE

'MATERIALISM & MACH' BRIDGES THE SACRED AND THE INDUSTRIAL AT ANISE GALLERY

ACME LAUNCH MAJOR FUNDRAISING APPEAL TO SECURE DEPTFORD PROPELLER FACTORY

"REMOVING INVISIBLE BARRIERS IS IMPORTANT": MARIE MCPARTLIN ON DIRECTING SOMERSET HOUSE STUDIOS

HUMANITY IS PUT ON TRIAL IN PAUL WINSTANLEY’S 'REPRISE' AT CRISTEA ROBERTS

TESFAYE URGESSA IS REDEFINING CONTEMPORARY PORTRAITURE AT SAATCHI YATES