Marina Vishmidt

  • Cameron Rowland

    FOR THE GREATER PART OF A DECADE, Cameron Rowland has been engaged in making not so much a museum of racial capitalism as a visitor center for it, where its artifacts are instructively pried free from daily use. In line with other projects by Rowland, the artist’s institutional solo debut in the UK, curated by Richard Birkett, is minimally populated in terms of exhibited objects, despite ranging over two floors of the Institute of Contemporary Arts, London (and including a nominally priced stack of works [Enclosure, 2020] for sale in the bookshop). This sparseness in fact offers the viewer a

  • Cameron Rowland

    Curated by Richard Birkett

    Cameron Rowland turns a materialist and gimlet eye on racism’s bottom line, focusing on the quotidian economics that turn people into speculative financial instruments. For his still-under-wraps first institutional solo exhibition in the UK, Rowland will employ all of the ICA’s galleries to develop his specific approach, one that adapts the circumspect aesthetics of Conceptualism into a systemic examination of anti-black violence as literally “part of the furniture” of American life. His ready-made objects, commodities manufactured by prisoners or seized by the police,

  • Marina Vishmidt

    In a social order held together by the bones of those who didn’t survive it, cancer can act as a lenticular tool to hold our fates in high resolution. The uninsured and underinsured suffer, decline, and die quickly, mostly; the insured suffer, decline, and undie, ideally. But to undie is not quite the same as to live, even if the terminal shadow takes on iridescence with every day that marks your distance from it. Anne Boyer’s The Undying (Farrar, Straus and Giroux), her concatenated memoir of undergoing treatment for aggressive breast cancer, has at its core “the most optimistic form of