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Coralie Fargeat, The Substance, 2024, 4K video, color, sound, 140 minutes.
Ten art professionals look at the year in art
Ancien Palais de Justice, Dakar.
The 15th Biennale of Contemporary African Art in Senegal evokes postcolonial wounds while fostering ebullience
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Current Issue
On a Copernican Revolution in the Art World
On the art of Mohammed Al-Hawajri
Museu de Arte de São Paulo
Sofía Córdova, Green is A Solace, 
A Promise of Peace (where small birds hide and dodge and lift their plaintive rallying cries) (detail), 2022, taxidermied doves, parakeets, and canaries, hair dye, brass, birch wood, 
dimensions variable.
Sofía Córdova, Green is A Solace, A Promise of Peace (where small birds hide and dodge and lift their plaintive rallying cries) (detail), 2022, taxidermied doves, parakeets, and canaries, hair dye, brass, birch wood. Installation view, JOAN, Los Angeles, 2024. Photo: Evan Walsh.
Videos
DECEMBER HOMEPAGE
The artist talks about reading James Baldwin, learning from David Hammons, becoming an artist, and more
Tracey Emin on Zoom.
On her art and life with Tina Rivers Ryan
From the archive
DECEMBER HOMEPAGE
December 1979
This week—on the occasion of the major survey “Arte Povera” at Bourse de Commerce in Paris—Artforum revisits Germano Celant’s first essay for the magazine, “Mario Merz: The Artist as Nomad,” published in December 1979. Written more than a decade after the Italian critic and curator coined the term that gave Arte Povera its name, Celant here takes stock of one of the movement’s central practitioners. In his examination of Merz’s work, he invokes the personage of the nomad, a figure whose itinerant, context-hopping existence offers a framework for the artist’s mutable, relentlessly radical art. “Even in a situation forbidden any liberty,” Celant writes, “the nomad sees in the individual and the ephemeral a political and cultural strategy.”
—The editors
Dossier
Rosa Barba, Boundaries of Consumption, 2012, 16-mm film, modified projector, film canisters, metal spheres. Installation view, Kunsthaus Zürich. Photo: Jenny Ekholm.
“In this Artforum Dossier, we have gathered texts that focus on artistic practices that reflexively engage with the specific materiality of celluloid—the transparent plastic that served as the most common substrate for moving images before the advent of analog and digital video. These practices typically focus less on storytelling than on the aesthetic possibilities of directly manipulating celluloid film stock, creating sequences of celluloid film frames, or running celluloid film strips through projectors. The results usually emphasize our perceptual experience of light, color, sound, pattern, movement, and space—that is, those elements that provide the language of all moving-image experiences.”
Tina Rivers Ryan