The Untitled (Witness ’79) photographs of Iranian photojournalist Hengameh Golestan capture the lost history of a six day uprising in Iran. Azadeh Fatehrad presents a selection of these extraordinary images with her own personal and historical account of Iran’s relationship with the veil.
Fatima Hellberg talks to Cynthia Maughan about her dark and funny early video works and her anti-essentialist approach to politics of representation.
On the occasion of a London retrospective of Peter Nestler's films, Martin Brady discusses the alternative portrait of post-War Europe conjured by his fifty-year-long documentary oeuvre.
Agata Pyzik traces the history of former Soviet architecture to show how the architects of the Eastern Bloc have turned into the architects of Capitalist Realist skyscrapers and glass towers.
Doug Rickard’s photography appropriates imagery of American suburbs found in Google Street View. In this interview Siobhán Bohnacker questions the role of the photographer and discusses Rickard’s social critique.
Nancy Buchanan's practice posits the audience as participants in a conversation on the gendered body and the perils of commercialised spectatorship. Audrey Chan interviewed Buchanan in Los Angeles; this photo-essay maps her forty year career in her own words.
Josefine Wikström interviews the theatre collective BADCo. about their work at the Venice Biennale and about the migration of theatre and performance into the visual arts space.
In early April of this year, the art world was chilled by the unexplained arrested and detainment of Ai Weiwei; Shumi Bose considers the significance of publishing the artist's 'digital rants'.
In this suggestive reading of John Stezaker's Lost Images series, Mark Prince pits them against Warhol's screenprints to see them as a commentary on the complex relationship between fame, stardom and anonymity now.
In this photo-essay, Ben Borthwick and Melissa Gronlund reflect on Rosa Barba's adaptation of cinema into printed and, here, online publication.
Duncan White interviews Takahiko Iimura about the visual poetics of his experimental films, which combine Japanese characters with English phrases to interrogate what we mean by 'image'.
Daniel Fuller reflects on a series of unofficial historical plaques erected throughout Pittsburgh, which tell a second side of the story about the Great Railroad Strike of 1877, the US's first major working-class rebellion.
In this photo-essay, Rosa Lléo looks at the work of Spanish artist Oriol Vilanova, and his use of found postcards to reflect on the iconographies of victory and power.
Janet Harbord considers the photographs of French interwar photographer Denise Bellon, which Chris Marker assembled in his film Remembrance of Things to Come (2001).
Lamia Joreige considers the frontier between the conscious and the unconscious in the work of Jalal Toufic, Andrei Tarkovsky, Jean Cocteau and David Lynch, setting these in relation to her recent video installation 3 Triptychs.
Jess Baines looks back at London's printmaking workshops of the 1970s and 80s, DIY sites of political and community activism that rejected the traditional role of the artist to participate in a network of campaign groups, radical publishers and alternative distributors.
In this video essay, Sarah Pierce excerpts four Irish-language television programmes from the 1950s and 60s that complicate Ireland's perception of its past and explore, as she writes, how notions of language, nation, history and territory are constructed.
Afterall's first photo-essay, by Polly Braden and David Campany, chronicles the River Lea in east London, site of the 2012 Olympic Games.