“Shoot the women first!”, an official is reported to have shouted in the 1980s when members of Germany’s anti-terror squad found themselves in front of a large group of people suspected of being terrorists. Navine G. Khan-Dossos used that order as the title of an exhibition that looks at the theme of female targets

Campeau is fascinated by the history of photography and in particular the disappearance of analog tools and practices. Each of the works exhibited explores a material culture that used to suggest magic and craftmanship: the messy darkrooms with duct tape to fend off the light and wooden pegs to hang the images to dry; the colourful rolls of photo film and the iconic camera models; the amateur developer who gave way to the computer pixel specialist, etc.

An exhibition at BOZAR in Brussels explores the intersection between photography and surveillance. Employing a dynamic range of approaches—from documentary to conceptual practice, from appropriation to street art—these 10 artists provide a satellite-to-street view of the ways in which surveillance culture blurs the boundaries between the private and public realm

Because it’s almost 40 degrees this week in Turin and i’m in a murderous mood, i’m going to split my review of the show into two parts. Today, you get the depressing bits and as soon as temperatures have cooled off a little, i’ll be back with the works that speak of solidarity, hope and compassion. It’s not all bad though because 1. i loved that show so much i visited it twice and 2. i’m going to open the quick gallery tour with one of my favourite artists

Greiner’s works involve buying 40 litres of maggots and bringing them to the exhibition space until they turn into flies, composing music based on
 the luminous skin of a squid, convincing the Director of the Neue Nationalgalerie in Berlin to consider a fly as a living artwork, photographing portraits of algae, carefully orchestrating explosions around Berlin

What these works have in common is that their design and violence are ambiguous. They start with what looks like a laudable impulse, only in the most ruthless context possible: rice that feeds hungry populations but pollutes the environment with pesticides, a brutal weapon that causes pain but not so much pain that it will kill, animal welfare in slaughterhouses, and other oxymoron.

Pater is a graphic designer who gave himself the mission to create visual narratives about complex political issues. He is not only interested in flying machines of death but also in disaster floods caused by global warming, Dutch sweets that evoke everyday racism, fishermen vs oil tankers, citizen journalism in countries with censorship, digital surveillance, etc

The quality of groundwater is heavily affected by human industrial activities. Looking for innovative ways to get clean waters to irrigate agricultural fields, artist Rihards Vitols is currently experimenting with a new type of agronomy that relies on “cloud-farming”. In his scenario, people will raise thousands of helium balloons over their land to collect water from the cloud

Internet Yami-ichi (japanese for Black Market) is a flea market where people sell Internet-ish things face to face. It’s a place where artists, designers, art students and hackers sell objects, offer food and DIY workshop, set up hilarious performances and more generally bring Internet offline.

The last edition of the market took place in Amsterdam on 9 and 10 May. More precisely at the Flemish Arts Centre De Brakke Grond

This is the eight edition of the competition and, as usual, the Italians made a killing and take a large portion of the awards, there is a fair deal of suffering, at least one of the awards goes to an image featuring Palestinians living under occupation and facing discrimination (this year however, the photos are joyful), and it is always strange to look at the photos and realize that the main events of the year before have almost already been erased from consciences

Zsolt Asztalos’ country, Hungary, was bombed heavily during the final months of the war by US, British and Soviet forces, with Budapest carpet-bombed on 37 occasions.

Hungary’s Unexploded Bomb Disposal Department gave the artist access to some of the explosives that were dropped over towns and cities but didn’t explode