Izabella Scott

  • picks February 03, 2020

    Imran Perretta

    Imran Perretta’s video the destructors, 2019, opens at a youth center in East London, where three young Muslim men occupy the deserted rooms, sites of both refuge and uncertainty in a United Kingdom starved by a decade of austerity measures. Paint peels off the walls, smoke leaks into the basement, and water floods the hallways. Three soliloquies written by Perretta are heard across a split screen flickering between the actors, who speak their lines alone in classrooms or conduct strange team-building exercises, such as gyrating together in a knot or inching through an obstacle course of rubber

  • picks December 09, 2019

    Latif Al Ani

    Latif Al Ani’s retrospective opens with a self-portrait. It is 1957, and the Iraqi photographer, at twenty-five years old, appears with a Rolleiflex strung around his neck while a crooked mountain range near Iran hardens the skyline behind him. Although pivotal to Iraq’s young photographic history, Al Ani has only somewhat recently gained a reputation as its “founding father.” After that self-portrait, he would go on to document the country over the next two decades, capturing, in buoyant depictions of everyday life, a period of sweeping political change and modernization which he now describes