Third Text

Akin Oladimeji Pamela Phatsimo Sunstrum was raised in a multicultural family across different regions of Africa, Southeast Asia and North America.[1]  Her artistic practices include performance, installation, drawing and animation. Her exhibitions are multilayered and frequently weave together cultural and art-historical references with elements of fantasy, addressing themes of power dynamics and the human condition.

Akin Oladimeji Childhood memories and strong family ties are at the base of both Eliza Kentridge’s visual art and her poetry. Raised in a Jewish family in South Africa, her parents were anti-apartheid lawyers. After relocating to the UK in her twenties, she now divides her time between her Wivenhoe studio in Essex and her father’s London home. Her work creates a dreamlike, enthralling visual world, often contrasting with that of her brother, artist William Kentridge.

8 March 2024 Khadija on Zinnenburgh Carroll (KC)    We’re driving through the deepest arms-building pit of Austria, the area of Steiermark where Steyr Arms build weapons – a land full of military sites – and we’re also driving under and through these salty mountains of the Salzkammergut where in the Second World War the Nazis hid a lot of the looted art, along with arms, inside the salt mines. Nour Shantout (NS)    The city of Vienna doesn’t reflect its history.

Frances DeVuono ‘Josh Kline: Climate Change’, Museum of Contemporary Art (MOCA), Los Angeles, 23 June 2024 – 5 January 2025 Several years ago, expanding on his earlier book The Great Derangement: Climate Change and the Unthinkable, writer Amitav Ghosh gave a public talk in Berkeley, California, in which he urgently called for artists and writers to use their skills to address our ecological crisis.

Ariella Aïsha Azoulay and Angela Dimitrakaki Angela Dimitrakaki    We can start with history. Is Gaza where imperialism, settler-colonialism, the North-South divide and the capitalist extractivist economy (the control of the ‘large gas deposits… discovered in the east Mediterranean over the past decade and a half’) [1]  meet as the first quarter of the twenty-first century is drawing to a close? Ariella Aïsha Azoulay    The answer is yes.

Ana Teixeira Pinto Whether a story has a happy ending, Orson Welles famously quipped, depends on where you decide to stop telling it. In Germany, Israel represents the undoing of the Holocaust, or, as researcher Emily Dische-Becker put it, the ‘happy ending’ that could be conjured out of the ashes of Auschwitz.

Akin Oladimeji This book serves as an illuminating guide to the work of artists engaging in the most avant-garde ways to ameliorate society’s ills. Its first chapter, which is really the introduction, starts off with a funerary procession in Cachoeira, Brazil, an annual event to mark the passing of victims of slavery. Beasley then outlines his aim: to highlight how African and diasporic artists showcase survival strategies and future imaginaries.

Future Souths: Dialogues on Art, Place, and History, initiated and introduced by Verónica Tello, is the culmination of an online dialogical project that began in 2017. Future Souths features essays and dialogues by/with eighteen authors from the Americas, Australia, Asia, South Africa and Europe, radically reconsidering the geo-spatial bases and biases of contemporary art history and discourse.

Constanze Fritzsch ‘Revolutionary Romances? Globale Kunstgeschichten in der DDR’ (Revolutionary Romances? Global Art Histories in the GDR), Albertinum, Dresden, Germany, 4 November 2023 – 2 June 2024 Following the inaugural exhibition ‘Revolutionary Romances: Transcultural Art Histories in the GDR – Prologue’ (Revolutionary Romances: Transcultural Art Histories in the GDR – Prologue) in the summer of 2022, [1] the Albertinum in Dresden showed ‘Revolutionary Romances?

Akin Oladimeji Kenturah Davis is an artist based in Los Angeles. Her interdisciplinary practice encompasses drawings, textiles, sculpture and performances. Solo exhibitions have included her 2020 show at the Savannah College of Art and Design Museum (SCAD) and her work is in collections at the Museum of Modern Art, New York, Los Angeles County Museum of Art and the Walker Art Centre.