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Gabrielle Goliath, Chorus, 2021, installation view at Dallas Contemporary, 2022. Courtesy: the artist. Photo: Kevin Todora
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EDITORIAL
Dear readers,
Collective intelligence (along with its wildly popular counterpart, brain rot) is a recurring subject of late. This issue is woven together through reflections on methodologies of the collective, larger-than-ourselves dynamics and “what goes unuttered (of, perhaps, what is painfully unutterable),” as Zoé Samudzi writes about Gabrielle Goliath—whose project for the South African pavilion at the upcoming Venice Biennale has been cancelled by the Arts and Culture Minister of her country for being “divisive.” We stand in solidarity with the artist.
Forensic Architecture’s Eyal Weizman speaks of new ways of detecting “hyper-relations” as strategies to confront systemic violence. Edward W. Said, in his crucial 1993 essay “Speaking Truth to Power” (reprinted here), argues that “the intellectual’s voice is lonely, but it has resonance because it associates itself freely with [. . .] the common pursuit of a shared ideal.” And in our Curators section, Shumon Basar memetically reaffirms that now more than ever, “Comment is king.”
Let’s not shy away from commenting.
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OPINIONS: This Orchestra of What We Can Do Together
In conversation, Petrit Halilaj and Danh Vo reflect on how collaboration enters their practices in unexpected ways—via family members, animals, local communities, and the shifting meanings of public and private space—allowing forms to circulate beyond the burdens of “personal” histories.
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SURVEY: Forensic Architecture
Forensics Is What the State Does, Counter-Forensics Is What We Do
Across legal, artistic, and media forums, Forensic Architecture navigates corrupted tools—law, satellite imagery, social media—while holding to an ethics of rigorous attunement and reconstruction as the basis for understanding, presenting, and contesting violence. This conversation between three of its members—Eyal Weizman, Nour Abuzaid, and Elizabeth Breiner—reflects on how the research agency had to rethink its methods since October 2023 to work on their Gaza Atlas (2023–ongoing), here included, and their “Cartography of Genocide” report.
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MONOGRAPH: Metabolic Urgency
“What is amplified and made more clear in the caesura of the unspoken, and thus unknowable?” Writing on Gabrielle Goliath, Zoé Samudzi traces how the “chorus of wordlessness” becomes a vessel where collectivity, opacity, and durational lament push beyond representation without de-subjectifying victim personhood.
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THINKERS: Edward W. Said
“How does one speak the truth? What truth? For whom and where?” Newly republished in Representations of the Intellectual by Fitzcarraldo Editions, Edward W. Said’s “Speaking Truth to Power” exposes the professional jargon that masks violence, the rewards of insider status, and the selective application of universal principles.
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CURATORS: To Overcome Resistance, Adversity, Impossibility
“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 Gallery, Dubai, conceived as “a timeline of timelines.”
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NOTES ON SPITTING: Part 4, Free Spit, or the Anti-Economy of Dance
“On the dance floor we collectively spit movements (sometimes at the rate of liters per night) and bathe together in our own dance: a fluid of pleasure we freely exchange.” Dani Blanga Gubbay contributes the final chapter of his column.
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VISUAL: Poems Out of Lines and Flecks
“My ink drawings have very little to do with masterful calligraphy. There is a lot of chance, and unexpected accidents. Striking the wrong note as well. They are alive because they have no desire to be perfect.” A portfolio of drawings by Tobias Pils, featuring a conversation with Travis Jeppesen.
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