Date of publication: 2017-08-21 17:31
Elsewhere, Anna Gritz explores the Chisenhale Gallery 8767 s current exhibition, the first UK solo show by sculpture, sound and text artist Park McArthur, whose work is infused with 8766 complex social dynamics, social anxieties and authorial hierarchies 8767 .
We are, as ever, excited to bring you our twenty-eighth online issue (we counted last week, on account of it being our fifth birthday). It features an interview with Korean novelist Han Kang, author of the critically acclaimed novels The Vegetarian and Human Acts . In a wide-ranging discussion with Sarah Shin, she touches on the trauma of Korea 8767 s twentieth century history on the national psyche, and the reception of her work in a highly charged political context.
This issue features interviews with art and fashion photographer Juergen Teller and writers Ahdaf Soueif and Brian Dillon fiction by Jesse Ball and Deborah Levy (plus some hidden Vladimir Nabokov prose) poetry by Michael Horovitz and Sarah Howe essays on political poetry, imagining radical futures and Tibetan kitsch artwork by Nick Van Woert, Julie Brook and Gabriele Beveridge.
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Our October 7567 online issue includes an interview with Icelandic author Sjon – speaking on mythology, folklore, storytelling and song lyrics. We’re also featuring Eddie Wrey 8767 s short film, Palestinian Airlines , documenting the experience of an actor working in independent theatre under Israeli occupation in Ramallah.
August 8767 s online issue of The White Review is guest edited by Contributing Editor Jacob Bromberg. Jacob, a poet and translator based in Paris, says: 8766 I 8767 ve tried to assemble a grouping of pieces by writers and artists who are doing work that is off the beaten track. 8767 David OReilly 8767 s video 8766 The External World 8767 is a mad amalgam of digital worlds with absurd potential and the bleak fragility of life, while his accompanying essay 8766 Basic Animation Aesthetics 8767 outlines a theory of consistency as the baseline of aesthetic harmony.
May 8767 s online issue features a piece by Edwina Attlee on Sharon Hayes’ video installation, In My Little Corner of the World, Anyone Would Love You , currently exhibited at Studio Voltaire , which engages with contemporary feminist and queer politics. Elsewhere in this issue, White Review contributor Jonathan Gibbs discusses the dynamics of representation in the film Wanda alongside Nathalie Léger’s account of the film in her book, Suite For Barbara Loden .
The White Review No. 8 features, among other things, interviews with artist Sophie Calle, novelist Deborah Levy and the author and filmmaker Chris Kraus, fiction by China Mieville and inaugural White Review Short Story Prize winner Claire Louise-Bennett, essays on écriture féminine by Lauren Elkin and American art collaborative Bruce High Quality Foundation by Legacy Russell, poetry by John Ashbery, Jack Underwood and Eugene Ostashevsky, and artwork by Claudia Weiser, Ben Berlow and Guy Gormley.
In the early days of The White Review we didn 8767 t publish dedicated online issues, but rather published pieces as and when they were ready to publish. In our first two months of existence online, we featured: interviews with David Vann and Manfredi Beninati essays on the beginnings of the Arab Spring, the 8766 Twitter 8767 revolution, being on the dole, China 8767 s CCTV, and the red shirts in Thailand and fiction by Aidan Cottrell Boyce.
Another of those to fulfil Aira 8767 s ambitions for new writing is Masha Tupitsyn, who riffs on Hamlet, Žižek and the Strokes in an excerpt from Love Dog , her multi-media reflection on love in the digital age. Elsewhere, Louisa Elderton interviews Sadie Coles, Frances Morris and others in the course of her investigation into the continued under-representation of women in the London art world.
We are excited to publish interviews with two longstanding heroes of the editors: Zadie Smith, arguably the most important British novelist and critic of her generation, and Rosalind E. Krauss, whose extraordinary body of work over the past forty years dispels the pernicious myth that art criticism must be inscrutable, obscurantist, or anything other than an intellectually and aesthetically exciting experience.
Painter and sculptor Henning Bohl 8767 s playful, minimalist explorations of three-dimensional form and the possibilities of representation occupy our central pages emerging British artist Oliver Osborne contributes a pull-out insert and our cover is by Chicago-born feminist painter Sue Williams.