A Non-Aspirational Justice: Review of Hydrojustice
The article is a critical review of Andreas Philippopoulos-Mihalopoulos's book 'Hydrojustice,' which uses the concept of water as a lens to critique traditional, top-down legal justice and propose a more fluid, collective, and embodied alternative. The review frames this analysis through the recent erasure of a Banksy graffiti piece on the London Courts of Justice, which depicted a judge violently silencing a protester.
Jamie Robertson’s solo exhibition, "soft heat," at the Houston Center for Photography presents a series of infrared photographs documenting Southern wetlands, including Caddo Lake and the Great Dismal Swamp. Using archival pigment prints and a zine titled "Alligatorwatergreen," Robertson utilizes thermosensational imagery to transform dense marshlands into ethereal, snow-like landscapes. The work incorporates archival figures, such as a liberated formerly enslaved man named Osman, to highlight the historical role of swamps as sites of maroonage and Black resistance.
Tate Britain has launched a major survey dedicated to the visionary artist and poet William Blake, marking one of the most comprehensive exhibitions of his work in London. The show brings together his intricate watercolors, prints, and prophetic books, offering a deep dive into his unique mythological universe and radical political views.
Vinegar Syndrome has released a new 4K UHD and Blu-ray restoration of 'Office Killer', the only feature film directed by renowned photographer Cindy Sherman. Originally released in 1997 to critical derision and box-office failure, the film follows a meek magazine editor who begins murdering her colleagues during a period of corporate downsizing. The restoration highlights Sherman's transition from her iconic 'Untitled Film Stills' to the more visceral, abject imagery of her 'Disasters' and 'Sex Pictures' series.