As part of Rupert’s 2020 public programme on care and interdependence, artist Mikhail Karikis and writer Salomé Voegelin explore the relationship between listening and care. The talk will be streamed online on Rupert’s YouTube channel on 10 December at 7pm EET.

I’m looking forward to watching this Nottingham Contemporary live stream event that brings together poets Donika Kelly, James Goodwin, and Sandeep Parmar to read from their work, then share their experiences of contemporary poetry during a panel discussion chaired by Lisa Kemp. Part of a series of online events collaboratively developed with the Critical Poetics research group at Nottingham Trent University that considers how language invites communion with the sensorial, social, and political bodies, the event is scheduled for 10 December at 6:30pm GMT.

Two films from China included in this year’s edition of FRAMES of REPRESENTATION intercept the fine contrasts between confined and wide-open spaces, between human bodies and urban constructions in the cities of Beijing and Hangzhou.

From Tomorrow on, I Will, co-directed by Ivan Marković and Wu Linfeng, borrows its title from the poem ‘Facing the Sea With Spring Blossoms’ by contemporary Chinese poet Hai Zi, a bitter celebration of life and a farewell letter, written soon before the poet’s suicide.

  

Zheng Lu Xinyuan’s first feature, The Cloud in Her Room, also draws inspiration from natural elements, namely water: ‘It snowed twice in the winter that we shot the film’ (pictured above) is the title of one of the filmmaker’s photographs from the shoot. The Cloud in Her Room is an aquatic passage that the protagonist traverses, as addressed by Raquel Morais’s essay on the film.

  

From Tomorrow on, I Will is available to stream as part of for seven days from 10 December, 7pm GMT and The Cloud in Her Room is available to stream as part of for seven days from 11 December, 6:20pm GMT.

The online project Earth return is a collaboration between Ama Josephine Budge, April Lin and Sam Smith for Art Gallery NSW. The audio-visual work uses text and image to navigate ecology via humankind’s relationship to the elemental and is best experienced on desktop with sound on.

Here Greek curator, researcher and theorist iLiana Fokianaki coins the term narcissistic authoritarian statism (NAS) for ‘a neoliberal power structure that merges old components of the nation-state with contemporary forms of corporate transnationalism defined by narcissism.’ And, in chapter 4 extends this notion both to art institutions, of how they are implicated, and to ways in which those power structures can and should be rethought and reworked.

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