I first met Andy at a New Year’s Eve party, which was being held by the friend of a friend in an abandoned aeroplane hangar, outside of Paris. He was surrounded by people and yet, moving across the invisible floor to catch a glimpse of the silver phantom in the corner, Irealised that he was …

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Article about the life and work of Tina Modotti. Read the full piece on Speciwomen.

In conversation with photographer, videographer and producer Sara Sergola. Read the full interview here.

In conversation with photographer Lucy Copeland-Tucker. Read the full article here.

It was over New Years when I first met Evan Purdy and Molly Maltman. Enthusiastically they described to me their vision of a collective future: artists, living and working together, creating a space in which they can display their work without having to compromise for commercial gain. It felt like a utopian aspiration, though not a completely implausible proposition. Now, in the Parisian gloom of an April washout, I talk to them again through the miracle of technology, all about how to curate a more cooperative future for young artists.

It feels as though I have reached the end of the world, travelling from my nook in the southernmost part of the city, north to Pantin and into this sun-lit room of dreams. It is here, in the post-industrial epicentre of Paris’ regenerative mission, that the Magasins Généraux hosts its latest exhibition, Le Salon des Songes, created by artist and musician, Inès di Folco Jemni.

Afanador’s work balances high theatricality and a sensibility towards the delicate and the precise. There is a desire to display the subject, which ranges from trained ballet dancers, to cult celebrity figures, to the idenginous communities of his native Colombia, without pretense or artifice.