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Explore this month’s selection of articles and new books, highlighting the finest content published during April. |
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Highlights:
- “In the early 2000s, my life was all Iran—my private world was shaped by a deep encounter with the country’s culture during a long stay in Tehran that marked a before and after in my life. It was also the moment when two incredibly important publications came into being: Pages and Bidoun.” Delve into back-and-forth, the column looking back and forth in time by Chus Martínez.
- Missed Milan Art Week? Discover our selection of exhibitions with Milan Oomph in two parts: Milan Oomph 1/2 and Milan Oomph 2/2.
- “Addressing the ecological impact of exhibition making as designers is more complicated than it may initially appear. Over the years, within our practice, we have developed different approaches to exhibition design that attempted to consider ecological implications—some more successful than others. These experiences have made one thing clear to us: sustainability in exhibition making is rarely a straightforward design problem.” Read On Exhibition Design, the critical column by design studio Formafantasma responding to the answer “What is exhibition design, really, and why do we keep doing it?”
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To Overcome Resistance, Adversity, Impossibility
by Shumon Basar
“We used to speak of ‘art of the times,’ but when the times are the length of a Charlie Kirk meme, art—or literature, or cinema—struggles to hold this temporality.” Shumon Basar pens an autobiographical reflection on two decades of curatorial work via the exhibition The Only Way Out Is Through at The Third Line, Dubai, conceived as “a timeline of timelines.”
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Edi Hila Edited by Anri Sala
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€40.00
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On Exhibition Design: Ecological Thinking
by Formafantasma
“For us, [certain ideas] function more as provocations. They help clarify an important point: ecological thinking is not primarily about materials or technical fixes. It requires questioning the cultural and economic assumptions that structure how exhibitions, and museums themselves, are conceived.”
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back-and-forth: Apr 14, 2026
by Chus Martínez
In the third chapter of her column, looking back and forth twenty years in time, Chus Martínez recalls two fundamental publications, Pages and Bidoun, both launched in the early 2000s. “Their founding— Pages by artists Nasrin Tabatabai and Babak Afrassiabi, and Bidoun by Lisa Farjam, with Negar Azimi serving as editor-in-chief from 2011—reflected a very specific cultural moment, shaped by the post-9/11 landscape and by an urgency to rethink the Middle East beyond clichés, and to create transnational artistic networks that would give voice to artists and intellectuals of that part of the world. (…) Memory is a process of reconstruction. Reality is made, not given. Art is an inherently political practice. It says, even in the darkest times: the world could be made differently.”
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Benni Bosetto “Rebecca” at Pirelli HangarBicocca, Milan
by Riccardo Conti
In Benni Bosetto’s Rebecca at Pirelli HangarBicocca in Milan, her first major solo exhibition in a museum space, the female body is neither represented nor simply politicized: it is the organizing principle of space. Riccardo Conti considers how the show refuses to separate space from body, structure from ornament, container from content. Architecture is never, for Bosetto, a neutral given. It is always already charged with history, with desire, with power.
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Minerva Cuevas “Social Ecology” at MASP, São Paulo
by Krzysztof Kosciuczuk
Born in Mexico City in 1975, Minerva Cuevas was shaped by the mid-1990s, witnessing firsthand the arrival of the North American Free Trade Agreement, which stimulated trade and exchange between Mexico, United States, and Canada and also triggered a Zapatista army uprising, lashing back at the government in defense of Indigenous lands and peoples. Social Ecology at São Paulo’s MASP, her most recent solo exhibition, offers an overview of Cuevas’s practice from 1997 up until today.
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