The Institutum

The Institutum has been a member of Linktree for 5 years and joined in March 2021. Besides social media accounts, theinstitutum has populated their site with: • "Lee Jung-seop's painting, a forgery copied on tile", an unprecedented event at the LA Museum of Art • Mountains and Rivers Remain — The Institutum • Translations: Afro-Asian Poetics — The Institutum • The Institutum - Our Website • - YouTube14th Gwangju Biennale Artist Interview | Oh Suk Kuhn • 14th Gwangju Biennale Artist Interview | Buhlebezwe Siwani • 14th Gwangju Biennale Artist Interview | Chila Kumari Singh Burman • 14th Gwangju Biennale Artist Interview | Mataaho • 14th Gwangju Biennale Artist Interview | Candice Lin • 14th Gwangju Biennale Artist Interview | Aliza Nisenbaum • Changing Spaces: How London’s Museums Are Rethinking Themselves • Kent Chan’s Overheated Future • Singaporean artist duo Chow and Lin’s The Poverty Line acquired by Museum of Modern Art New York • Making Art Out of Bombshells and Memories in Vietnam • ArtAsiaPacific: Wu Jian’an Crafts Mythologies of Today and Tomorrow • On-the-Rise Artist Phaan Howng's Lush Vegetal Paintings and Installations Imagine How Plants Might One Day Retake the World • ArtAsiaPacific: Reexamining Knowledge Systems in Shubigi Rao’s “Eating One’s Tail” • Lowdown: Taipei's 5 Best Shows to See • In Captivating Animations, Nalini Malani Builds Feminist Visions of Justice | Artsy • Kent Chan: Future Tropics • ArtAsiaPacific: Taking Root with Shooshie Sulaiman • Jaune Quick-to-See Smith Brings Indigenous History to the Whitney Museum in a Landmark Retrospective • ArtAsiaPacific: London: Zadie Xa • William Kentridge is sharing the untold stories of Africans who served in World War I | CNN • Who painted Hilma af Klint’s otherworldly visions? • Tiffany: Not Just a Shopping Destination, but a World-Class Museum • Kent Chan: Future Tropics | Exhibitions | Gasworks • Oum Jeongsoon awarded the inaugural Gwangju Biennale Park Seo-Bo Art Prize • Dream of the Day | ILHAM Kuala Lumpur • Art Basel eyes Asia beyond Hong Kong for the future of its business • lift the tikar! | ILHAM Kuala Lumpur • Paul Smith has designs on Picasso • Whitechapel Slashes Jobs, Eliminates Curatorial Posts • Collector Li Lin: ‘Art changes the way you think’ • Kapwani Kiwanga • Was Louis Vuitton’s Use of Joan Mitchell’s Artworks Defensible? • From Hogarth to Hockney, artists struck by puppy love are celebrated in four recent canine-themed books • The Mumbai Collector Building the City a Blue-Chip Art Space • El Anatsui Selected to Create Monumental Work for Tate Modern’s Turbine Hall • New book shines light on region’s vast art scene • This book is a new introduction to contemporary art in Southeast Asia • Modern paintings from Singapore and Vietnam show artists’ evolving style • Etsu Egami solo exhibition: Incessant is the change of water where the | Whitestone Gallery • Launch of SEA: Contemporary Art in Southeast Asia - ART SG • Singapore Art Week 2023 • Dreamday By Mit Jai Inn - Exhibition | Jim Thompson Art Center • Bangkok Art Biennale • Walker Art Center to Present First Retrospective of Artist Pacita Abad • Adriano Pedrosa Talks About Curating “Indigenous Histories” • State of the Arts - Everlyn Nicodemus & Wells Fray-Smith • ArtAsiaPacific: The Life of Yayoi Kusama Through Images • Xu Zhen - "SIGNAL" Singapore Chapter • Will Singapore Biennale Live Up to Its Name? • Why the global explosion of billionaires will keep auction houses afloat—for now • Three Curators to Lead 13th Taipei Biennial • Elia Nurvista: Recipes for Reorientation • Residency open call for artists based in Malaysia, 2023 • Pierre Soulages obituary • Paris+ par Art Basel's VIP opening: galleries report good sales, the right people and a clear step up from Fiac • Over 100 artworks at Singapore Biennale spread over 13 locations • New Cultural Center Planned for Mumbai • Think Like an Art World Expert Talks to Alessio Antoniolli from Gasworks • Bell’s Theorem (Reductio ad Infinitum): Contemporary Art—It’s a White Thing! - Journal #129 September 2022 - e-flux • ArtAsiaPacific: Thao Nguyen Phan: Poetic Thinking • 11 Influential Native American Artists | Artsy • ArtAsiaPacific: Gwangju Biennale 2023 Reveals First Artist List • State of the Arts - Daisy Parris & Wells Fray Smith • Art in odd places and the artists who are breaking urban boundaries • The web has expanded the reach of art but nothing beats standing in front of a Picasso | Kenan Malik • Get your copy of SEA: Contemporary Art in Southeast Asia • Lumbung Community Rejects Documenta Committee’s Recommendations • What Sold at The Armory Show 2022 | Artsy • OpenSea, One of the Top NFT Platforms, Has Seen Trading Volume Fall by More Than 90 Percent Since January • What Does K-Pop Star RM Collect? Here Are 8 Artists the Burgeoning Celebrity Patron Has Snapped Up • Black Abstract Artists Are Finally Being Recognized by the Art Market • McArthur Binion: 'I didn't come from art history, I landed there' • RM, Boy Band Superstar, Embraces New Role: Art Patron • The Global Emergence of Singapore’s Art Market • ArtAsiaPacific: Up Close: Jennifer Tee • The Stripes Are Solid • The Past and Future of Afrofuturism • Transformative Sculptures - Ruth Asawa • Hew Locke’s Quiet Radicalism • Behind the Scenes in Venice: Tsherin Sherpa • How To Be a ‘Real’ Artist • Claes Oldenburg, a whimsical father of pop art, dies at 93 • The Work of Worms • Documenta Fifteen is a sum of its parts, not a single event • Tan Boon Hui (1968–2022) • Could Japan rise again? New fair to launch in Tokyo in July 2023 • Emma Talbot at the Whitechapel Gallery review: a true visionary • Dealers Are Footing Towering Bills to Show Monumental Works in Art Basel’s Unlimited Section • Art Basel 2022 • ArtAsiaPacific: Curatorial Duo to Lead the Biennale of Sydney 2024 • State of the Arts - Alex Prager & Wells Fray Smith • A New Museum Retrospective Shows How Faith Ringgold’s Paintings Have Inspired Women Of Color, From Art Academies To Rikers Island • Cave Urban - Biennale of Sydney • Leeroy New - Biennale of Sydney • “The Substitute” (2014) by Alexandra Daisy Ginsberg • Barthélémy Toguo - Biennale of Sydney • Jeffrey Gibson’s Solo Exhibition “The Body Electric” Opens at SITE Santa Fe • Save Venice: The forgotten female artists being rediscovered • In Historic First, Simone Leigh and Sonia Boyce Win Venice Biennale’s Golden Lions • Public Art Decreases Traffic Accidents by 17%, Report Finds • State of the Arts - Khari Turner & Kirsten Weiss • Hermann Nitsch, the Provocative Austrian Actionist Known For Using Blood and Animal Carcasses in His Work, Has Died at 83 | Artnet News • How Artists From the Countries Hit Hardest by the Pandemic Vaulted Hurdles to Get to the Venice Biennale • National Gallery of Art's "Afro-Atlantic Histories": A Preview • Sweeping Basquiat Show Curated by His Sisters Offers Intimate Look at the Artist • Decolonizing the Discipline from Expanded Ceramics. Questions for an Emancipating Pedagogical Practice • The Surprising Mix of Tradition and Innovation in Nepal’s Contemporary Art Scene • How to Wear a Sculpture: New York Show Explores the Thin Divide Between Clothing and Art • Why Joan Mitchell’s Paintings Can Never Die • The Artist Is Present—Again: Marina Abramović Is Restaging Her Best-Known Performance to Benefit Ukraine • Wait, Did Anyone Actually Look at Beeple’s Work? • The real problem with NFTs? They’re ugly • Art Fair Philippines 2022: Exhibitions to See in Manila • State of the Arts - Wells Fray-Smith and Maggi Hambling CBE • Inside the world’s largest private collection of modern Chinese art • ‘One diamond could have bought two airports’ – the Filipino recreating Imelda Marcos’s gems stash • At Ukraine's largest art museum, a race to protect heritage • 'Creating Abstraction' Connects Seven Artists Across Generations • Pavlo Makov, Ukraine’s Venice Biennale artist, on why he’s staying put • Catharsis Through Satire: the Rise of Bangkok’s Eco-Artists • At the New Museum, a Long-Overdue Showcase for the Great Faith Ringgold • Uganda to Present First National Pavilion at 2022 Venice Biennale • Women-led artist-curator team to represent Singapore at Venice Biennale • Rivers and streams in focus at 23rd Biennale of Sydney • Venice Biennale 2022 to Reframe Art History as a Story of ‘Symbiosis, Solidarity, and Sisterhood’ • The Most Racially Diverse Art Museums • The Art World Deals with Coronavirus in 2022 - See The Latest Updates Here • State of the Arts: Shubigi Rao • 8 Female Surrealists Who Are Not Frida Kahlo • State of the Arts - SAW 2022 - Chen Yanyun and Tan Boon Hui • State of the Arts - SAW 2022 - Amanda Heng and Tan Boon Hui • State of the Arts - SAW 2022 - Pio Abad and Sandhini Poddar • State of the Arts - SAW 2022 - anGie seah and Tan Boon Hui • State of the Arts - SAW 2022 - Robert Zhao and Tan Boon Hui • Singapore Art Week 2022 - State of the Arts • The Challenge of Asian Art - Webinar Registration • Shirin Neshat Builds a Land of Dreams • The top art fairs for 2022 • Chua Mia Tee : Directing The Real • At the Hirshhorn, Toyin Ojih Odutola’s ‘Countervailing Theory’ will leave you transformed • State of the Arts - Wells Fray-Smith and Tess Jaray RA • Tess Jaray’s Incomparable Abstraction Goes Back to Italy • How Mark Rothko Unlocked the Emotional Power of Color • Art Basel Miami Beach: the spectacular success of artists from the African diaspora - Judith Benhamou-Huet Reports • Betye Saar, Hugh Hayden Conjure Mysteries with Everyday Objects in Standout ICA Miami Shows • Lubaina Himid review – a promise unfulfilled • State of the Arts - Wells Fray-Smith and Kojo Marfo • David Medalla’s Celebration of the Ephemeral • How Craft Became an Art Market Force • ‘He’s inspired so many of us’: how Gordon Parks changed photography • Artistic directors for Singapore Biennale 2022 announced • Apichatpong Weerasethakul's Past, Present, and Future • Museum Visits Prescribed to Combat Covid-Related Stress • Hyundai Commission: Anicka Yi In Love With The World • Taipei’s Community of Collectors Has Turned the City into a Leading Art Hub • FIAC 21 Online Viewing Rooms • How Yinka Shonibare Is Helping Invigorate Diversity in the Arts • Eva Langret, Director of Frieze London unveils the highlights of this year's fair • Documenta 2022 artist list revealed • A Conversation with Shubigi Rao & Ute Meta Bauer • Inside the Summer Exhibition 2021 with Yinka Shonibare RA • Specific Objects - Jeffrey Weiss on Frick Madison • Baltimore Museum of Art Security Guards Take the Helm to Curate Exhibition • Gasworks, London & The Institutum - Artist Residency • State of the Arts: Choy Ka Fai • State of the Arts: Rizman Putra • The Institutum presents State of the Arts: Artist Interviews - Teaser • Art prize winners use technology to tackle Southeast Asia’s big issues • Yinka Shonibare CBE RA will coordinate Royal Academy Summer Exhibition • Know Your Rights: Can I Make an NFT of Someone Else’s Artwork? + More Artists-Rights’ Questions, Answered • Yinka Shonibare: ‘You don’t want the next generation to be full of hate’ • Singapore Art Week 2021 - Open To Interpretation