What If the Artist Was In Charge?Mark RappoltArtReview23 January 2023Rirkrit Tiravanija’s 2022 Okayama Art Summit, ‘Do We Dream Under the Same Sky’, continued the artist-led experiment in a show that was both physically compact yet intellectually expansive
Behind the Masks of Bret Easton EllisMark RappoltArtReview20 January 2023In ‘The Shards’, the author’s first novel in 13 years, ‘everyone, it seems, is using everyone else’
‘India: A History in Objects’ – ReviewMark RappoltArtReview Asia05 January 2023T. Richard Blurton’s new book ranges from palaeolithic tools through to contemporary works of art
Kim Bohie: Look Outside YourselfMark RappoltArtReview23 December 2022The artist on how her painting and worldview is rooted in the natural world
Stan Burnside and Tavares Strachan: “We Get to Make Meaning”Mark RappoltArtReview25 November 2022A pioneering voice in Afrofuturism speaks to his mentee and now-curator about tradition, contorted systems and paying homage
Aichi Triennale 2022: What Are Museums Really For?Mark RappoltArtReview27 September 2022Rather than acknowledge or exorcise the ghosts of previous scandals surrounding the 2019 Triennale, ‘Still Alive’ twists around to gnaw on its tail
Mounira Al Solh: What Makes and Breaks CommunityMark RappoltArtReview01 September 2022‘A day is as long as a year’ at Baltic Centre for Contemporary Art speaks to a solidarity of suffering as much as it does to a solidarity of women
