Fusing disparate, seemingly incompatible visual languages to create “synthetic folklore,” Janek Simon’s work presented in this catalogue raises the question: How do we cherish the particular while constructing a global value system with the use of new technologies?

Alexandra Kollontai was a writer, a revolutionary, and after the 1917 October revolution the people’s commissar of social welfare as well as one of the first female ambassadors in the world.  This reader, in which artists and thinkers revisit Kollontai’s legacy, asks: How to read Kollontai’s vision of love today and relate it to current feminist struggles?

This is a subjective chronicle of contemporary art from 2011 to 2017. During this period, the curator, writer, and educator Maria Lind regularly wrote a column for the print edition of ArtReview. The writings focused on individual art works and exhibitions, extending to conversations and debates that were developing in the art world and beyond during these seven years.

This reader is the result of Joanna Warsza’s course at the Salzburg International Summer Academy of Fine Arts in 2015. It examines four recent cases of boycotts, presenting their political, ideological, and economic contexts, timelines, statements, as well as interviews with parties involved. It reflects on how certain biennials became the place where the power of art is renegotiated and why one simply “can’t work like this.”

Once described as “Italy gone Marxist,” Georgia, located in both an advantageous and vulnerable geopolitical position between the Black Sea, Russia, Central Asia, and the Middle East, enjoys a Mediterranean climate and viniculture in combination with a community-oriented and self-determined spirit. This guidebook maps the social, urban, and art discourses of the country’s post-Soviet years as seen from its hilly capital of Tbilisi.