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Natasha Hoare examines the phenomenon of the 'geo-cultural exhibition', extrapolating the histories of the World Fair to its contemporary manifestations – the biennale. She explores the concept by looking through the prism of <i>Le Maroc Contemporain</i> (2014–15) at the Institut du Monde Arabe, Paris, 'as symptomatic of the diplomatic and...

The work of Tangiers-born, Moroccan artist Hamza Halloubi defies characterization and yet at the heart of it lies a specific vision of place and history, the paradoxical failure and success of image as mediation. His work spans video, installation and painting, most recently in exhibition at the EYE Film Institute,...

'What does it mean to be making art within the fulcrum of occupation and amidst precarious state security?' asks <strong>Natasha</strong> <strong>Hoare</strong>, in this conversation with<strong> Nida Sinnokrot</strong> – the Algerian-born artist moved with his family to Texas as a young boy, and currently lives in Palestine. 'For many years,' writes...

Natasha Hoare speaks to artist Yazan Khalili and curator Lara Khaldi about their collaborative practice: performance lectures that draw together image, text, archive, film and sound through the epistolatory form. Often, their chains of communication form the public manifestation of shared research. Together, they create narratives that blend fact and...

Eric Van Hove's socio-economic sculpture<i> V12 Laraki </i>(2013) is an exact replica of the Mercedes-Benz V12 engine: the product of thousands of hours of labour by Moroccan craftsmen Van Hove sought out from across diverse quarters of Marrakech, and who worked to recreate 465 pieces of the engine in 53...

Coagulated blood, missing body parts, brilliant deductions, traces of evidence, wild accusations and murder – such is the stuff of Alsi Çavuşoğlu's playful pastiche of popular TV crime dramas, <em>Murder in Three Acts </em>(2012), which was on show (11th and 25th October 2013) throughout the raw spaces of the Delfina...

Jeremy Hutchison's work often explores the absurdity of the everyday, a strategy employed to make visible power structures inherent to global flows of production, while offering disruptive proposals for alternative situations. His work <em>Err</em> (2011) earned widespread recognition and comprised of a series of commissioned 'incorrect' versions of objects factory...