AT THE DAWN OF THE CENTURY, no special sign presaged Sharjah’s rise to its present status as an artistic incubator and arguably today’s most influential hub of research and creation focused on what is now called the Global South. Yes, its ruler, Sheikh Sultan bin Muhammad Al Qasimi, launched the Sharjah Biennial in 1993. But in its early editions, the exhibition was relatively staid, presenting neo-modernist art from Arab and Muslim countries on the national-pavilion model. Compared with glitzy Dubai, the city of Sharjah, capital of the eponymous emirate, was (and remains) low-rise and conservative
e-flux is pleased to donate the full print edition of e-flux journal to the library of the Center for Curatorial Studies (CCS) at Bard College. Since its launch in 2008, 136 issues of the journal have been published to date, featuring more than 1,300 essays on art and theory by more than 600 artists, writers, curators, and theorists from all parts of the world.
e-flux is pleased to donate the full print edition of e-flux journal to the library of the Center for Curatorial Studies (CCS) at Bard College. Since its launch in 2008, 136 issues of the journal have been published to date, featuring more than 1,300 essays on art and theory by more than 600 artists, writers, curators, and theorists from all parts of the world.
AMERICA LOVES its unconscionable mash-ups. Since the 1990s, a fixture of Thanksgiving Day football coverage has been television anchors’ ritual consumption of a “turducken”: a chicken stuffed in a duck stuffed in a turkey. Following that logic, what would be the apposite coinage for a manifesto slipped into a press release set inside the screenshot of a Gmail message? A manipresscreenmail, or a Gshotleasefesto? Either way, the announcement for “Nobodies New York,” a small group show organized by Josh Kline in 2009, a full one hundred years after the Futurist Manifesto appeared in Le Figaro,