Art Monthly Talk Show

Ashiya Eastwood explores TJ Demos’s book Against the Anthropocene, Kathryn Lloyd examines Sophie Jung’s performance-based art practice and Virginia Whiles discusses her interview with Rasheed Araeen.

Lizzie Homersham on Hannah Black and her recent show at Chisenhale Gallery, Seth Pimlott on Erika Balsom’s book ‘After Uniqueness: A History of Film and Video Art in Circulation’ and George Vasey on David Dye’s exhibition at the Henry Moore Institute.

Bob Dickinson on art, life and the algorithm, Giulia Smith discusses the upsurge in art about sickness, and Virginia Whiles reports on Manchester's New North and South exhibition marking 70 years of independence for India and Pakistan.

Isobel Harbison on the Gothenburg Biennial, Richard Hylton on the rise in thematic shows of black artists, and Maria Walsh on Leon Wainwright’s book ‘Phenomenal Difference: A Philosophy of Black British Art’.

Lisa Le Feuvre discusses the crisis in public sculpture highlighted by this year’s Münster Sculpture Project.

Sophia Phoca on Documenta, Jamie Sutcliffe on Jenna Sutela’s exhibition at Banner Repeater and Lauren Velvick on Marlie Mul’s project at Glasgow GoMA, ‘This exhibition is cancelled’.

Bob Dickinson on crowdthinking and the political fallout from the rise of referendums, and Chris Fite-Wassilak on the music-themed exhibition Wagstaff’s at Mostyn in Llandudno and Martin Herbert's book of artist refuseniks ‘Tell Them I said No’.

Brian Hatton suggests that the loop in art predates its usage in film and video art theory; Maria Walsh takes a critical view of a slew of women’s art shows; Sophie J Williamson argues that cultural translation can both help and hinder understanding.

Paul O’Kane on the book ‘On Stage: The Theatrical Dimension of Video Image’, Jamie Sutcliffe on Tate’s screening of American experimental animation from the 1970s and 1980s, and Bryony White on the Performistanbul festival and the wider the wider Turkish art scene.

Morgan Quaintance and Virginia Whiles discuss cults and collectivism, asking can artworks reveal the radical potential of self-reflection while avoiding the dangers of a slide to the far right?

Tim Dixon discusses art and accelerationism, Andrew Hunt proposes gonzo curating and Andrew J Stooke reports on the Shanghai Biennale.

Mark Prince argues that abstract art has performed a 50-year volte-face.

Virginia Whiles discusses Suzanne Lacy’s collaborative performance at Brierfield Mill in Lancashire, Bob Dickinson wonders what the rise of art self-help books means, and David Lillington considers why death has become a fashionable subject in contemporary art and exhibitions.

Morgan Quaintance wonders why there is not more politically engaged art in these turbulent times, while Maria Walsh posits the end of critique.

David Lillington discusses an exhibition curated by artist Elizabeth Price at Whitworth Gallery in Manchester, Kathryn Lloyd discusses recent exhibitions in London at Pump House Gallery, Laure Genillard and the Barbican, and Jamie Sutcliffe discusses the work of artist Kitty Clark.

Lizzie Homersham tackles gendered issues surrounding ideas of empathy and autism, while Morgan Quaintance argues that that art’s relationship with private finance comes at a price.

Naomi Pearce discusses the Martine Syms exhibition at the ICA; Adam Pugh reports on the Oberhausen Short Film Festival; Jamie Sutcliffe examines artists’ repurposing of video games to reveal the fantasy of freedom that virtual technologies offer.

Virginia Whiles discusses her interview with Mona Hatoum and her report on the Dhaka Art Summit, and Peter Suchin discusses his reviews of the ‘Barthes/Burgin’ show and John Roberts’s latest book, as well as remembering the late Jon Thompson.

Isobel Harbison discusses the Hot Babe theory of objectification, Erika Balsom recounts the north-east's socialism-oriented AV Festival and Sophia Phoca tackles James Coleman’s exhibition at Marian Goodman Gallery.

Kathryn Lloyd on Iván Argote’s show at Space, Jamie Sutcliffe brings a worm’s eye view to art and the Chthulucene and Lynton Talbot discusses the Whitechapel Gallery’s ‘Electronic Superhighway (2016-1966)’ exhibition.