Art, War and What It’s All Good For

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Gönderen: ArtReview <eme...@artreview.com>
Tarih: 10 Haz 2026 Çar, saat 18:45
Konu: Art, War and What It’s All Good For
Alıcı: <nursen...@gmail.com>

Recent exhibitions want to address conflicts past and ongoing, but what, from a safe distance, might they hope to achieve? |

View this email in your browser Absolutely Nothin’ In 2011, the artist Giles Duley lost three limbs to a bomb in Afghanistan while working as a photographer in the US army. Opening his new exhibition in New York last month, he spoke earnestly: “I don’t think we should kill children. I don’t think we should bomb schools.” Surrounded by portraits of former child-soldiers from Angola, ‘listeners nodded along while wine glasses and serveware clinked in the background’, ArtReview editor Jenny Wu observed. It’s a common incongruity: art exhibitions want to address conflicts past and ongoing, but what, from these safe distances, might they ever hope to achieve? And anyway, an artwork hasn’t ever stopped a bomb from dropping.  Making her way around the city’s recent exhibitions, Wu ponders the different positions audiences are asked to take in relation to such thoughts: for Duley’s show, ‘the conscientious witness and potential do-gooder’; ‘the smart investigator and gutsy interloper in the room of power’ engendered by an installation by publishing group Khajistan, modelled after the former US Office of War Information agency (responsible for, among other things, air-dropping leaflets promising imminent attack; pictured above); or one of displacement, asking ‘viewers to try and picture themselves as the perpetrator for once’. That last while they are standing in a Vietnam veteran’s empty swimming pool. Alexander Leissle, Digital Editor Read Now Tearsheets The Distance Between Art and Survival in Rojava Zehra Doğan on women’s revolution, artistic freedom and the fragile conditions of culture in wartime. read now Roman Khimei and Yarema Malashchuk: War in the Background Amid a media landscape saturated with violence, the artist duo find new ways to portray the Ukraine war, writes Agnish Ray. read now Notes on the Gallery as Military Hangar A reencounter with the work of Fiona Banner prompts a reassessment of art institutions as political fields of hegemonic control, writes Nathalie Olah. read now Not subscribed yet? Sign up to ArtReview’s newsletters © 2026 ArtReview Ltd. All rights reserved. You are receiving this email because you opted in at www.artreview.com or the previous digital magazine website Our mailing address is: ArtReview Ltd. 1 Honduras Street London, England EC1Y 0TH United Kingdom Add us to your address book Want to change how you receive these emails? You can update your preferences or unsubscribe from this list.