In the Shadows of the Dutch MastersOliver BascianoArtReview26 October 2023Delving into the so-called Golden Age of Dutch art, Benjamin Moser’s ‘The Upside-Down World’ is a treatise on artistic and worldly ambition
The Fallacy of Arranging Art by Geographical FocusOliver BascianoArtReview06 October 2023Phaidon’s ‘Latin American Artists: From 1785’ to Now leaves much to be desired
Art Encounters Biennial 2023 Review: Against DoomismOliver BascianoArtReview26 September 2023The latest edition, ‘My Rhino is Not a Myth: art science fictions’, asks us to imagine the possibilities of transhumanism and posthumanism
35th Bienal de São Paulo Review: About BodiesOliver BascianoArtReview06 September 2023‘Choreographies of the Impossible’ brings in long-excluded artists and wears a sense of visceral anger with pride
Bring Up the Bodies at the Mütter MuseumOliver Bascianoartreview.com29 August 2023The conflicted relationship between historic institutions and the collections they are meant to care for
What Does the ‘Global South’ Even Mean?Oliver BascianoArtReview23 August 2023A series of upcoming biennials promise to explore the art of the ‘Global South’. But what does that mean? And is the term of any practical use?
