Immersion, the recent work by the German filmmaker and artist Harun Farocki, shows therapists using game technology in the treatment of traumatized soldiers. Shown last summer at SMART Project Space, the film was previously presented in Leuven, together with two earlier works by Farocki. Here, it was clear that Farocki had previously used war as a game with analogue, electronic and digital media, blurring the distinctions between virtual and actual reality.

Here is a portrait of two Belgian artists, Vaast Colson and Dennis Tyfus, who not only produce very different work, but have a good dynamic together and often work as a team. Hans Theys attempts to describe their work without placing it an art historical framework or otherwise ‘emasculating’ it.

Kurt Vonnegut claimed that life is not much different than what we all went through in high school. For Aaron Schuster, that statement is reason enough to proclaim the teen movie – with all of its adolescent intrigues, sex, violence and foolishness – the best representation of American society.

For some years now, there has been a resurgence of interest in feminism, but as of yet no sign of any real activism. In relation to the opening of the exhibition REBELLE in the Arnhem Museum for Modern Art, Clare Butcher spoke with several curators and an artist about their views on feminism in today’s art.

Who are the successors of Rivane Neuenschwander, Cao Guimarães and Marepe, the by-now established artists from the nineties? A quick look at the youngest generation of artists from Brazil and their relation to their famous predecessors.

The classic retrospective, in which works are selected to present an overview of an artist’s oeuvre, is being radically renewed at the initiative of a new generation of artists. Recent examples are the exhibitions of Liam Gillick in Witte de With and Marc Camille Chaimowicz in De Appel. Alexis Vaillant, who as curator was responsible for the latter exhibition, places this development in perspective.