Art Seen: International

Speaking for the Inarticulate // 16th Istanbul Biennial Seeks the Voice of the Seventh Continent

By Pinar Uner Yilmaz It is old news that humans overuse the natural sources for their own benefits, bringing the world to a global environmental crisis, while a majority of people—mostly adults—are turning a blind eye to the situation. Over the past year, the 16-year-old Greta Thunberg became an iconic sign of the global climate[…]


By Dr. Kostas Prapoglou The visual lexicon of Palestinian born, London based artist Mona Hatoum has become well-recognizable to a wider audience, especially after her show at the Centre Pompidou in 2015 and her Tate Modern retrospective in 2016. The Tate presented thousands of visitors with the opportunity to view a major body of her work[…]

Reshaping the Nuclear Family

ROSALIND NASHASHIBI: DEEP REDDER // SECESSION By Fanny Hauser The visual language of Rosalind Nashashibi’s film works evades easy categorization, shifting between observational documentary and poetic subjectivity. Oftentimes elusive and eerily slow-paced, her films inquire into familial, societal, and systemic relationships between people, alongside the secret life of objects, the mechanisms of kinship, and everyday[…]

All the World is a Stage

SARA RAMO // PROFILE OF THE ARTIST By Ionit Behar Spanish-born, Brazil-based artist Sara Ramo appropriates everyday elements and scenes, displacing them from their original context and rearranging them across her videos, photographs, collages, sculptures, and installations. The following conversation took place during the last weeks of her installation, lindalocaviejabruja, at The Museo Nacional Centrode[…]

Sean Edwards

UNDO THINGS DONE // COLLATERAL EVENT OF WALES By Anna Searle Jones Representing Wales in the 2019 Venice Biennale, Sean Edwards’ pavilion exhibition, Undo Things Done, is reflective of his wider practice, weaving a range of mediums—sculpture, photography, film, audio, prints, textiles, artist’s books—into a poetic meditation on working class life, inheritances, and interdependence. These[…]

Hidden in Plain Sight

ILYA AND EMILIA KABAKOV // THE SHIP OF TOLERANCE By Jill Silverman van Coenegrachts Since 2005, USSR-born and New York-based artists Ilya and Emilia Kabakov have presented The Ship of Tolerance in twelve locations around the world. The work began in Siwah, Egypt, as an installation where children of diverse backgrounds made drawings that became part[…]

Gathered on This Beach

SUN & SEA // LITHUANIAN PAVILION By Natalie Hegert In this last of meeting places We grope together And avoid speech Gathered on this beach of the tumid river… This is the way the world ends This is the way the world ends This is the way the world ends Not with a bang but[…]


MARY REID KELLEY AND PATRICK KELLEY // STUDIO VOLTAIRE By Claire Phillips What does a mogul of a wellness empire have in common with a philosopher best known for espousing the virtue of selfishness? Oscar-winning actress and founder of $250 million lifestyle brand Goop, Gwyneth Paltrow, is the least likely bedfellow one might expect for[…]


VOL 1 // WOMEN’S BODIES, MADNESS, COLONIAL HISTORIES, AND COLLECTING This Special Edition Insert must be viewed as a PDF. Click here to download.

Sonics and Politics

SAMSON YOUNG // SMART MUSEUM OF ART By Elliat Albrecht This summer has been a difficult one in Hong Kong. Sweltering, as summers always are in China, and fraught with rising political tensions. On June 16, more than two million people marched across Hong Kong island to protest a controversial anti-extradition bill that threatens to[…]

On the Death of Camp

By Mayne 1. Camp is esoteric— something of a private code […] To talk about camp therefore is to betray it. –Susan Sontag.1 2. The unrestrained, bombastic opulence of the Met Gala has turned the hoi-polloi into a teeming rabble of amateur fashion critics decrying the ‘Death of Camp.’ Though when asked, no one, least[…]

A Virtual Rose

STINE DEJA // PROFILE OF THE ARTIST By Stephanie Cristello               A rose passes from the hands of a gardener, gloved fingers covered in earth, before it is snipped, bathed in acid, its guard petals removed, thorns stripped, and placed into a refrigerated chamber known as the ‘cold chain.’[…]

Mr. Peanut Runs for Mayor

IMAGE BANK // KW INSTITUTE FOR CONTEMPORARY ART By Julianne Cordray In the 1970s in Vancouver, Canada, Vincent Trasov and Michael Morris established the correspondence-focused artist collective, Image Bank—now emblematic of a practice that was at once distributive and acquisitional. The current Image Bank retrospective at the KW Institute for Contemporary Art in Berlin presents[…]

The Privilege of Proximity

LA BIENNALE DI VENEZIA // A SINKING SHIP By Rashayla Marie Brown Writing a first-time review as an emerging artist about the largest and oldest art biennial has led me down a corridor of binaries, squarely placing myself somewhere in the middle of maker and critic. These binaries function to preserve the terms which give[…]

Larissa Sansour

HEIRLOOM // PAVILION OF DENMARK By Dr. Kostas Prapoglou Heirloom, curated by Nat Muller, is the title of the Pavilion of Denmark, which encompasses the work of East Jerusalem-born and London-based artist Larissa Sansour. In Heirloom, the pavilion is divided into two conceptually interconnected parts; the first, a dark room with the mixed media installation[…]

The Institute of Complex Systems

NEÏL BELOUFA // PROFILE OF THE ARTIST By Guillaume Désanges For French-Algerian artist Neïl Beloufa, cinema belongs to an aesthetic model that is both industrial and moral. Throughout his practice, the conventions of film are often made into materials for sculpture. While films also exist within the artist’s oeuvre—installations that function like the pans of[…]

A thousand kisses deep

Leonard Cohen: A Crack in Everything // The Jewish Museum By Casey Carsel In its didactic’s promise, Leonard Cohen: A Crack in Everything at The Jewish Museum in New York, explores Cohen’s life and work, his inspiration upon other artists, ‘how [Cohen] entered the cultural conversation, how [he] cut deep into the marrow of the[…]

Changes in Looking // Suicide and Artistic Legacy

By William Davie On October 15, 2007, Édouard Levé hanged himself in his Paris studio. He was 42-years-old. He left behind a body of work consisting of a number of highly engaging and conceptually rigorous photographic series and four experimental books; the manuscript for the last delivered just ten days before his death. In this[…]


By Shelby Heitner True to its name, the documentary The Proposal (2019) superficially seems to follow the plot of a 19th century romance novel: initially at odds with one another, two central figures embark on an epistolary courtship despite the myriad of obstacles that keep them apart. After she can stand it no longer, one[…]


By Rashayla Marie Brown Writing a first-time review as an emerging artist about the largest and oldest art biennial has led me down a corridor of binaries, squarely placing myself somewhere in the middle of maker and critic. These binaries function to preserve the terms which give touristic art criticism its meaning – quality, curation,[…]


By Rafael Powell “I’m always destroying,” the late Kathy Acker said in an interview at the Institute of Contemporary Arts, London (ICA) in 1986, “To hell with the word deconstructing. I’m always destroying, you know, rigidities, habitual meanings, habitual contents.” Coming full circle from that interview, I,I,I,I,I,I,I, Kathy Acker, the first UK exhibition dedicated to[…]


by the Editors THE SEEN, Chicago’s International Journal of Contemporary & Modern Art, published twice a year in print and online by EXPO CHICAGO, The International Exposition of Contemporary & Modern Art (September 19 – 22, 2019) today announced an international expansion of the publication through a partnership with Motto Distribution, whose global headquarters are[…]


By Claire Phillips The late Emma Kunz may not have defined herself as an artist or seen her miraculous drawings as anything other than visions of nature, but those are exactly the pieces of the puzzle being placed together at the Serpentine Galleries in London’s Hyde Park. Although it is true that through her powers[…]


By Julianne Cordray In the opening pages of the collaboratively produced publication Nails*hacks*facts*fictions, curator and writer Katja Kobolt’s essay “NailStories,” begins by accentuating the position of the fingernail as interface, or projection screen. Detached hands, dressed in a variety of nail styles, are a recurring, haunting presence in the pages of the publication, as well as[…]