as a value for the future In the north of Europe lies a territory older than the borders that were later drawn across it. It is called Sápmi: the traditional homeland of the Sámi. This area stretches across what is now Northern Norway, Northern Sweden, Northern Finland and the Kola Peninsula in Russia. Sápmi is not a modern state, but a cultural, spiritual and ecological landscape. It is a territory of languages, family histories, reindeer, rivers, mountains, forests, memories and routes passed down through generations. The Sámi are often captured in a single image: the reindeer herder in a snowy landscape. That image is not incorrect, but it is too limited. Not all Sámi are reindeer herders. Sámi identity also...
Biography based on publicly available information from Zhanna Kadyrova’s official CV and website, Galleria Continua’s artist profile, documentation of the project PALIANYTSIA, and public information on her exhibitions, awards and participation in the Venice Biennale.
Tiona Nekkia McClodden makes work about dignity under pressure. Not dignity as politeness, respectability, or social approval, but dignity as the right to determine the conditions under which a body, a history, or a presence becomes visible. Her work does not offer itself up easily. Not because it wants to be closed, but because it refuses the expectation that art — and especially Black queer presence — should be immediately legible, explainable, or emotionally available. Her work asks for time. For physical proximity. For a way of looking that does not immediately try to possess what it sees. In PURE GAZE, her exhibition at White Cube New York, McClodden presents a new development within her ongoing series NEVER LET ME...
Koyo Kouoh: Not a Footnote, but a Shift in Power The art world loves grand gestures. Grand halls, grand names, grand egos, grand budgets — and, when convenient, a thin layer of progressiveness on top. And then came Koyo Kouoh. Not as a decorative “diverse choice.” Not as a polite correction to a white, male canon. But as someone who entered the centre of power with knowledge, precision, international authority and an entirely different compass. Koyo Kouoh was born in Douala, Cameroon, in 1967. She grew up between Cameroon and Switzerland and later worked from several worlds at once: African, European, international, but never neatly reducible to one identity. That also shaped her way of seeing. She did not think...
Where Memory Continues to Operate History records what happened — art reveals what it did. This distinction is essential to understanding the work of Beatriz González. Her practice is not concerned with documenting events, nor with preserving them in a fixed form. Instead, it shows how images continue to operate long after the moment they refer to has passed, and how memory is shaped, altered, and redistributed through repetition and context. Beatriz González was born in 1932 in Bucaramanga, Colombia, and grew up during La Violencia, a period of intense political conflict that deeply affected the country’s social and visual landscape. Violence was not only present in lived reality, but also in the images circulating through newspapers, propaganda, and...
