From Benjamin to Deleuze and next year to Agamben: the Venice Biennial and its political positioning.

The extra mile is the new exhibition of Galeria Nicodim, although in this case the works of Cristian Răduţă do not follow the formal logic of the ex-position.

Pre ‘89 Eastern Europe, as hard as it is to speak about it as an entity, concedes freaky, unwilling-to-behave political and apolitical artistic expressions in the show Left Performance Histories.

Joanna Warsza’s direction for Public Art Munich 2018 is a commitment to redefining public space and developing commissioned works for a specific audience.

Starting February 24th, the entrance to the contemporary art space Tranzit.ro/Iaşi is lit from the inside.

Places where Katja Lee Eliad's work becomes fragile.

The exhibition at Victoria Art Center seeks to transforme the Danube area into a deterritorialized (but by no means depoliticized) field of experience and reflection.

Nona Inescu’s solo show at EXILE gallery in Berlin is not her first attempt at communing with the inhuman.

An Interview with Kaja Renkas, Polish artist and designer showing at UNAgaleria in Bucharest.

Our Czech resident writes about the contemporary art biennial in Timișoara.