Recurring themes of belonging, displacement, and exile at Zürich Art Weekend prompt Orit Gat to reflect upon the new homes that art might make for the remnants of the past, and how they might be carried into the future. e-flux.com/criticism/6157…

Alenka Zupančič argues that contemporary scepticism towards science disavows the traumatic reality of capitalism. e-flux.com/notes/615033/s…

Jordan Strafer’s new film fictionalizing the trial of John F. Kennedy’s nephew is imbued with a Lynchean surreality, writes Stephanie Bailey, suggesting there’s nothing more American than violence without justice. e-flux.com/criticism/6160…

Miranda July loves you. She's also worried that she's irritating. Wendy Vogel reports from July's first major retrospective, replete with evidence of the intimate games she plays with her audience. e-flux.com/criticism/6163…

EDITORS' LETTER: How do our exhibition spaces reflect a cultural bias towards instant judgement, frictionless circulation, and corporate logic, ask the editors, and what does that mean for the museum as a space of thought, study, and reflection? e-flux.com/criticism/6172…

Taking its title from a Ladin myth and rooted in fictional narratives, the ninth Biennale Gherdëina connects improbable scenarios with real-life concerns, writes Novuyo Moyo. e-flux.com/criticism/6174…

e-flux is very pleased to announce the open call for submissions to the second edition of e-flux Film Award. Artists are invited to submit their short films by August 15, 2024 11:59pm ET. e-flux.com/announcements/…

We are delighted to announce the publication of the second issue of e-flux Index, available in print and digitally e-flux.com/announcements/…

Drawing on the origins of cinema in the prehistoric wall paintings of animals animated by flickering torches, Gabriel Chaile’s latest work suggests another revolution in our relationship to the nonhuman world, writes Filipa Ramos. e-flux.com/criticism/6180…

Bizet's "Carmen" offers rich picking for any artist interested in resistance, behavioural coding, and cultural appropriation. Yet Wu Tsang's version, notes John Douglas Millar, is too deferential to the original to be impactful. e-flux.com/criticism/6184…

Chantal Akerman wanted her work to capture “the physical experience of time unfolding inside you.” The celebrated filmmaker’s first major survey exhibition, writes Max Levin, does exactly that. e-flux.com/criticism/6191…

Do monuments commemorate the past or doom us to repeat it? Lauren O'Neill-Butler on Nina Sanadze's Melbourne survey, where statuary fragments are repurposed in ways that reflect on the present. e-flux.com/criticism/6193…

What can the Central Asian pavilions at Venice tell us, asks Nikolay Smirnov, about the pressures on artists from postcolonial countries to present themselves in ways easily legible to an art world preoccupied by identity? e-flux.com/criticism/6193…

Let’s meet in Vancouver! Hot off the press, e-flux Index #2 will debut at Vancouver Art Book Fair this weekend. e-flux.com/announcements/…

The installation of Jonas Mekas’s final film in a deconsecrated church brings a new affective power to its intertwined images of natural renewal and human catastrophe, writes Lukas Brasiskis. e-flux.com/criticism/6199…

On the day of the Olympics opening ceremony in Paris, the French rail network was "paralyzed" by sabotage attacks. This disruption and the language surrounding it starkly reflect Evan Calder Williams's essay, where he examines the figure of “paralysis.“ e-flux.com/journal/141/57…

Truong Cong Tung’s emotional, multidisciplinary installation establishes him as a formalist storyteller, writes Max Crosbie-Jones, exploring the earthbound histories and spiritual resonance of Vietnam’s Central Highlands. e-flux.com/criticism/6199…

Slavoj Žižek on the film version of Never Let Me Go (2010), “arguably the most depressing film I’ve ever seen.” e-flux.com/notes/620313/w…

There might be thousands of miles between Caragh Thuring and her subject of Mount Tamalpais but the gap is bridged by the painter’s playful, genre-bending, and allusive update of the tradition of landscape painting for our highly mediated age. e-flux.com/criticism/6201…

An ambitious and scholarly exhibition of experimental art from the former Eastern Bloc might alert US audiences, writes Ksenya Gurshtein, to the great diversity of styles and themes developed by artists in the region between the 1960s and '80s. e-flux.com/criticism/6203…