Candice Hopkins

  • June 15, 2020

    “Critical Zones”

    Curated by Bruno Latour and Peter Weibel with Martin Guinard and Bettina Korintenberg

    Billed as a follow-up to ZKM’s heady exhibition-research projects “Iconoclash” (2002), “Making Things Public” (2005), and “GLOBALE: Reset Modernity!” (2016), “Critical Zones” looks at the politics of nature as it has figured in European art and science from the seventeenth century to the present. The organizers argue that “new climate regime” is a descriptor better suited than “Anthropocene” to define our geologic epoch. For them, the former term connects the “material and political transformations in the

  • “Hearts of Our People: Native Women Artists”

    There was much to commend in “Hearts of Our People: Native Women Artists,” a survey of one thousand years of art by Indigenous women through 125 works. The exhibition didn’t rely on the usual curatorial model, in which non-Native curators assemble Indigenous art based on geographic or formal affinities, sometimes with a small group of Indigenous advisers to legitimize their efforts. At the Minneapolis Institute of Art, curators Jill Ahlberg Yohe and Teri Greeves, the latter a Kiowa artist, worked with nineteen advisers, the majority of whom were Indigenous artists, curators, and scholars. Their