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Announcement2026-04-17
e-flux
Tselinny Center of Contemporary Culture
II Korkut Sonic Arts Triennale
Rites of Eternal Wind
Announcement2026-04-17
e-flux
Mönchehaus Museum Goslar
Frances Scholz
The Upson Girls
Announcement2026-04-17
e-flux
TEA Tenerife Espacio de las Artes
Cabello/Carceller
Footnotes
Announcement2026-04-17
e-flux
Counterpublic Triennial

Artists and collectives for third edition Coyote Time

Announcement2026-04-17
e-flux
Museum für Gegenwartskunst Siegen
The Social Life of Things
Announcement2026-04-17
e-flux
ifa (Institut für Auslandsbeziehungen)
Are You for Real: Cosmotechnics, Counterfictions, and the Art of Worldbuilding
Announcement2026-04-17
e-flux
apexart
Winners of 2026 International Open Call
Announcement2026-04-17
Agenda
Zurich Art Weekend
Ninth edition
Announcement2026-04-17
Architecture
Moreau Kusunoki
Fragments
Announcement2026-04-17
Architecture
Triennale Milano
Edward Barber / Jay Osgerby
Alphabet
Announcement2026-04-17
Education
Institute for Studies on Latin American Art
ISLAA Fellowships 2026 call for proposals
Announcement2026-04-16
e-flux
Qatar Pavilion at the Venice Biennale
untitled 2026 (a gathering of remarkable people)
Announcement2026-04-16
e-flux
Brazilian Pavilion at the Venice Biennale
Adriana Varejão, Rosana Paulino
Comigo ninguém pode
Announcement2026-04-16
e-flux
National Gallery of Canada
Sobey Art Award 2026 longlist
Announcement2026-04-16
e-flux
Singapore Art Museum
Lost & Found: Assembly
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Criticism
Ben Lerner’s Transcription
John Douglas Millar
Farrar, Straus and Giroux
Lerner’s structure that allows for remarkable depth and associative resonance: that early impression of exhausted tropes is revised and placed under a new aspect as the book progresses. This is a dense, penumbral, glittering text. What is achieved is a kind of Woolfian impressionism, that is, not an impressionism of glancing imprecision, but rather one of constantly shifting depths, a capacious condensation of style and association. We are presented with a book that restates the themes and style of Lerner’s earlier work, whilst opening a route toward new possibilities.
Peter Hujar / Liz Deschenes’s “Persistence of Vision”
Dominic Eichler
Gropius Bau
The quietly engrossing two-person exhibition at Gropius Bau contains 120 of Hujar’s prints, providing a rich cross-section of his oeuvre. These works alone would be reason enough to see the exhibition. Its experimental, intergenerational format, however, pairs Hujar with Liz Deschenes to meditate on the nature of photography as a medium. It is primarily on this conceptual level that it makes sense to couple Hujar’s once overlooked, now canonized photographs with Deschenes’s non-representational, structuralist photographic sculptures and wall pieces.
D’Ette Nogle’s “Let it R.I.P.”
Genevieve Lipinsky de Orlov
Kunstverein Braunschweig
The museum, the artist notes, acknowledged the controversy surrounding its colonial holdings but left it up to visitors to decide “whether and in what form such collection components should still be presented.” With this disturbing anecdote, Nogle effectively connects the historical, constitutive violence of the founding of the United States with the local context, and illustrates the broader structural violence persistent in contemporary institutions.
Roman Khimei and Yarema Malashchuk’s “Pedagogies of War”
Ben Eastham
The attritional war in Ukraine, with its endless minefields and vast trench systems, looks nothing like these picturesque battle scenes. And so the title, with its allusion to Caspar David Friedrich’s archetype of the Romantic hero, might be read as a taunt: Did these Russian soldiers believe that they would die the glorious death of lone fighters in snowy mountains, like the Red Army fighting back fascism? Or perhaps it is the western European audience that stands accused: Is this what we think war looks like?
Pablo Delano’s “The Museum of the Old Colony”
Jared Quinton
New Britain Museum of American Art
The title contains a second meaning legible only to those in the know: Old Colony is the brand name of a popular Puerto Rican soda. This double entendre signals the interpretive slippage and dark humor that define Delano’s approach. The walls of several galleries have been filled with blown-up archival photographs of Puerto Rico and its inhabitants, many of them produced by US government agencies for North American consumption.
Alexis Akrithakis’s “A Line Like a Wave”
Stephanie Bailey
Benaki Museum
This singular character from Greece’s iconic postwar generation is best known for his distinctive “tsiki-tsiki” compositions, a term coined in the mid-1960s by his friend, writer Costas Taktsis, to describe the sound of pen on paper. A teenage regular at Athens’s literary cafes, Akrithakis considered these drawings a form of automatic writing. Intuitive black lines built labyrinthine contours, color-blocked shapes, and amoebic curves on paper that preceded Ettore Sottsass’s “Bacterio” pattern (1978) by years.
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Notes
April 17, 2026
Collapse Finance, Part 2: Longevity Capitalism—Life as an Asset Class
By Giulia Dal Maso
April 15, 2026
Collapse Finance, Part 1: Introduction
By Aris Komporozos-Athanasiou
April 13, 2026
Simultaneous or Poly-Cinema
Film
By László Moholy-Nagy
April 10, 2026
Experimental Funding Schemes and Militant Analysis: The Experience of CERFI
By Susana Caló and Godofredo Enes Pereira
April 7, 2026
An Urgent Call From Artists and Curators of the 61st International Art Exhibition of La Biennale di Venezia 2026

We are artists and curators invited by Koyo Kouoh to the 61st International Art Exhibition of La Biennale di Venezia. We are committed to an active decolonial practice of anti-racist politics and human rights, which is embedded in our work. We speak up in resistance to increased repression, censorship, and policing of cultural and intellectual spaces. Specifically, we have come together to object to the decision by La Biennale to exceptionally relocate the Israeli pavilion to the Arsenale.

April 6, 2026
The Irresistible Force of Thinking and Acting Together
Film
By Greg de Cuir Jr
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Journal
#162 April 2026
Issue #162
April 2026
Editorial: “Operativism: Labor, Automation, Agitation”Elena Vogman and Matteo Pasquinelli
to scientize agitation and politicize scienceHarun Farocki
Beneath the Information, the Operation: Harun Farocki and the Work of ImagesTom Holert
War Metabolism and Operative FilmOlexii Kuchanskyi and Elena Vogman
Fact and FetishAlla Vronskaya
The Social Research on Operation at the Central Institute of LaborAleksei Gastev and Evgenii Petrov and Aleksandra Selivanova
A Stack of Orders: On the Operative Language of Aleksei GastevDevin Fore
AI’s AURA: Aesthetic, Ubiquitous, Regimented AutomationKalindi Vora and Neda Atanasoski
#161 March 2026
Issue #161
March 2026
EditorialEditors
The University Within the Limits of Automated KnowledgeYuk Hui
After Exhaustion, a DoorTung-Hui Hu
Fantasies at Work: An Introduction to Fantasies of the PeopleDevin Fore
Epic Fantasies: An Introduction to Fantasies of the PeopleKerstin Stakemeier
Outline for a Communist Infrastructure in the Arts: Interview with Aurélien CatinJoana da Palma Monbaron and Aurélien Catin
Science Fiction: Definitions Serve to Be DestroyedIsadora Neves Marques
Play CowThotti
#160 February 2026
Issue #160
February 2026
EditorialEditors
Looking Back with Silvia Federici: A ConversationAndreas Petrossiants and Silvia Federici
Warm WarCharles Stankievech
War in the Age of Infinite Evidence: On AI-Generated War PhotographyBogna Konior
Planetary Aesthesis, Not Animal CitizensJosephine Berry
Besides Constellation: Concatenation and EffervescencePatrick Flores
On Vilém Flusser’s Phenomenology of UnderdevelopmentRômulo Moraes
DelaysVilém Flusser
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Architecture
Announcement2026-04-17
Moreau Kusunoki
Fragments
Announcement2026-04-17
Triennale Milano
Edward Barber / Jay Osgerby: Alphabet
Announcement2026-04-16
EUmies Awards
Winners of the European Union Prize for Contemporary Architecture / Mies van der Rohe Awards 2026
Announcement2026-04-15
Aedes Architecture Forum
Call for applications: Aedes Graduate Admissions Intensive
Announcement2026-04-14
University of California, Berkeley
Liz Gálvez and Paul Mayencourt: Forest to Forest: A Circular Ecology for Timber
Announcement2026-04-14
DaeWha Kang Design
DaeWha Kang Design reveals interior architecture of Black Gold Museum
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Education
April 17, 2026
Institute for Studies on Latin American Art
ISLAA Fellowships 2026 call for proposals
April 16, 2026
CAMERA – Centro Italiano per la Fotografia
ICP Summer Intensive Program in Visual Storytelling
April 15, 2026
Institute for Doctoral Studies in the Visual Arts (IDSVA)
Low-residency PhD program accepting rolling applications
April 15, 2026
Rhode Island School of Design (RISD)
Major gift from Maxwell/Hanrahan Foundation to support scholarships and faculty
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Books
December 6, 2025
Cream Psychosis
Mary Walling Blackburn
November 24, 2025
Séance: Technology of the Spirit
September 12, 2025
Theory of Seeing
Władysław Strzemiński
July 15, 2024
Chaos and the Automaton
Franco “Bifo” Berardi
September 18, 2023
Navigation Beyond Vision
November 3, 2022
Wonderflux: A Decade of e-flux journal
July 26, 2022
Routes/Worlds
Elizabeth A. Povinelli
February 1, 2022
Accumulation: The Art, Architecture, and Media of Climate Change
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