Dossiers is a unique platform dedicated to contemporary art, turning must-read articles into audio versions.
HQ stands for headquarters — a global channel featuring 15+ of the finest magazines and newspapers. Designed to deliver curated content, Dossiers acts as a label, recording the stories that shape today’s art world.
"Bennani’s belief in the affective potency of small gestures, and the emotions that can’t make their way to the surface or to those we love, is what moves her characters and her audience to tears."
Lauren Halsey: 'So Much of What I Make Is in Response to the Context of Funk' ●︎HUO
The LA artist says her musically inspired, architectural works are deeply rooted in her South Central neighbourhood as she opens her debut solo UK show.
Philippe Parreno: 'Art, Like Magic, Deals With the Ineffable'
The French artist Philippe Parreno has redefined the exhibition experience as a contemporary ritual, bringing voices, sounds, and data to the heart of his creative process.
Artist and filmmaker Shu Lea Cheang discusses her continuous engagement with speculative sci-fi narratives and examines her radical reclamation of pornography. (excerpt)
As the artist prepares for a major exhibition in Madison Square Park, Eisenman takes stock of the winding path to fame. What is gained and what is lost when your art is political?
In an era of doxxing and cancellation, nobody wants to be the culture war’s next lightning rod. But if art’s new survivalism can be frustrating, it should also prompt us to ask who art is really for.
Falling Back Into the Future of Old: Frieze London 2023
"Anybody who’s anybody, and thus someone you probably want to be if you want to be in the art world, shows up on Wednesday and Thursday, and has already wearied and abandoned the sinking ship by Friday."
At the Ballet National de Marseille, collective (LA)HORDE are re-energizing the classical forms of the institution with what they’ve termed "post-internet dance."
How Chelsea Became the Unlikely Center of the Art World
The art business took over a neighborhood on the Far West Side of Manhattan previously known as Gasoline Alley. Then the city turned the area into a "monument to real estate developers."
"As museum-going turns into an increasingly experiential activity, a signifier of one’s inclusion in a global creative class compensating financial precariousness with good taste, the rule is simple: If you can’t buy the painting, why not get the T-shirt?"
General Idea: Cultural Criminals.A Conversation With AA Bronson
"By identifying with parasites, criminals, and servants, Bronson aligns General Idea with transgression and disobedience, but also establishes a Warholian approach."
"Critics generally fit into one of two groups: village explainers and village complainers. Both presume there’s a village to explain to or complain about. No one wants to be the last one left in the town square." On Jargon (excerpt)
Tomás Saraceno and Hans Ulrich Obrist in Conversation ●︎HUO
The Argentinian multimedia artist is transforming the Serpentine Galleries for "In Collaboration: Web(s) of Life," his first major exhibition in the U.K.
Art Basel’s Fairs Director on the Market for Inner Worlds
Ahead of his first Art Basel as fairs director, Vincenzo de Bellis talks to Francesco Tenaglia about his Milanese roots, detrending figuration, and blurring the distinctions between curation and entrepreneurship.
"The New York-based artist seeks to repair a largely spectatorial perspective on the histories and lives of Black, transgender figures overlooked by the historical canon."
"Across a career as long as it is diverse — spanning from docu-fantasy to mathematics, from TV to TikTok — his lexicon remains one of raw energy and omnivorous imagination."
We explore the work of American artist Senga Nengudi, who has just opened two major shows in New York, and will be awarded the Nasher Prize for Sculpture 2023 in April.
Jakob Kudsk Steensen and Hans Ulrich Obrist in Conversation ●︎HUO
"I investigate how video games enable us to develop a sensibility of the environment. Natural spaces influence us in a deep psychological way. How, then, to expand our perceptions through technology?"
What’s so funny about our dystopian future? Just ask Josh Kline.
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