Terence Trouillot

2 months ago | frieze.com | Travis Diehl |Will Fenstermaker |Marko Gluhaich |Jane Harris |Terence Trouillot

Frieze PublishingYes, email me reviews, offers, and opinions by artists, writers, and editors from Frieze Frieze EventsYes, email me Frieze Events Inc and Frieze Events Ltd’s global programme information including special offers and benefits It’s no secret that New York’s art ecosystem is under strain. As institutions slash budgets and corporate sponsorships evaporate, the ripple effects have hit small and mid-sized galleries hardest – many shuttering just as they hit their stride.

Oct 18, 2024 | frieze.com | Miranda Lash |Ebony G. Patterson |Terence Trouillot

Terence Trouillot At the public announcement of Prospect.6 in New York last winter, you discussed envisioning this edition of the triennial as an opportunity to foreground New Orleans – and, by extension, the American South – within a more global context. Could you elaborate on this approach and how it came to fruition? Miranda Lash Our goal is to honour New Orleans, its deep histories and culture.

Oct 18, 2024 | frieze.com | Tuan Nguyen |Terence Trouillot |Christian Ðinh |Tuan Mami |Arlette Quynh-Anh Trân

Terence Trouillot How have your personal connections to the Vietnamese diaspora influenced your artistic or professional work? Christian Ðinh It’s the crux of my work. In 1975, at the end of the American War in Vietnam, my whole family emigrated from Vietnam to Florida, where I was born. I’m a firsthand witness to how the Vietnamese American community has been developing both in Florida and here in New Orleans, where I currently live.

Oct 18, 2024 | frieze.com | Terence Trouillot

I first read Colson Whitehead’s novel The Nickel Boys (2019) while quarantined in a Caribbean hotel, battling my first bout of COVID-19. Dejected and ill, I found solemn refuge in Whitehead’s absorbing and heartbreaking tale about two Black boys – Elwood Curtis and Jack Turner – navigating the abusive horrors of a juvenile reform school.

Oct 13, 2024 | frieze.com | Terence Trouillot

It doesn’t take long to realize that this year’s Busan Biennale, ‘Seeing in the Dark’, is fiercely, if not at times anxiously, political. Upon entering the Museum of Contemporary Art Busan – one of four venues that houses the biennial – I was transported back to Documenta 15 in 2022, with works by the Indonesian ‘artivist’ group Taring Padi and the Palestine- and Belgium-based cohort Subversive Film dominating the ground floor gallery.