MADDIE KLETT is a writer and independent curator based in San Francisco.
In theorist and historian Partha Chatterjee’s 1991 essay “Whose Imagined Community?”, Chatterjee challenges Benedict Anderson’s argument made in his book, Imagined Communities, that politicians in Africa and Asia selected their post-liberation national forms from existing models in the United States, Western Europe, and Russia.1 Chatterjee responds: if postcolonial nations are restricted to these models, then what is left for them to imagine? The late Congolese artist Bodys Isek Kingelez’s works can provide an answer to Chatterjee’s question.
Despite living at the center of tech development and corporatization, Jacobsen gravitates towards untrendy, outdated means of production—copy stores and drugstore photo counters.
In the cavernous front gallery of the CCA Wattis Institute for Contemporary Arts in San Francisco, Abbas Akhavan has reconstructed the eerie scene of the National Museum of Iraqs lobby after its looting following the American invasion of the country in 2003.
Ramirez Jonass artwork and essay shape this exhibitionary exploration of loss—how artists reckon with it, or even attempt to restore or repair it.