Living Content is a curatorial platform that aggregates reviews on contemporary art exhibitions, that features interviews with artists, and collaborative limited editions. Based in New York, Living Content operates internationally through an expanding network of writers, artists and collaborators. Occasionally, LC organizes discursive events and exhibitions.
LC is a platform that centralizes information on contemporary art in the service of community and discourse.


LC features selected exhibitions and maps the surrounding critical discourse by aggregating reviews, documentation and original content. Readers are also able to vote and submit their own reviews.


Living Content features in-depth, well-researched interviews with artists in order to map out and highlight the concerns and interests that define our contemporary moment.


Sometimes, the interviews expand into collaborative limited editions created with artists.

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Whitney Biennial 2019 @ The Whitney Museum


The Whitney Museum, New York | : 17.05.2019 - 22.09.2019

“The Whitney Biennial is an unmissable event for anyone interested in finding out what’s happening in art today. Curators Jane Panetta and Rujeko Hockley have been visiting artists over the past year in search of the most important and relevant work. Featuring seventy-five artists and collectives working in painting, sculpture, installation, film and video, photography, performance, and sound, the 2019 Biennial takes the pulse of the contemporary artistic moment. Introduced by the Museum’s founder Gertrude Vanderbilt Whitney in 1932, the Biennial is the longest-running exhibition in the country to chart the latest developments in American art.”

Read more about the exhibition in a statement by the curators.


With Warren Kanders Gone, the Eight Whitney Biennial Artists Will Keep Their Work in the Show After All

Eileen Kinsella

25 / 07 / 2019

„'We will no longer request removal of our work following today’s announcement', said artist Nicholas Galanin, who was part of a group of artists alongside Korakrit Arunanondchai, Meriem Bennani, and Nicole Eisenman who requested their work be removed in a letter to the show’s curators on July 19.“ READ MORE


Warren Kanders Resigns as Whitney Trustee After Protests Over Tear Gas

Robin Pogrebin and Elizabeth A. Harris

25 / 07 / 2019

„Several hours after Mr. Kanders announced his resignation, the eight artists who withdrew from the Biennial said that they would remain in the show. And the group that led the protests, Decolonize This Place, said that it was heartened by Mr. Kanders’s departure, thanking the museum for heeding its calls while also suggesting that the group was not done demanding changes.“ READ MORE

The Art Newspaper

Whitney Museum vice chairman Warren Kanders steps down after months of protests

Hannah McGivern

25 / 07 / 2019

„Hundreds of artists, critics and activists have joined calls for Kanders’s resignation since last November, when dozens of Whitney employees wrote to museum management expressing “outrage” at a report by the website Hyperallergic that chemical weapons produced by Safariland were used by US Customs and Border Protection agents against migrants at the US-Mexico border.“ READ MORE


Whitney Museum Vice Chairman Warren Kanders Resigns Over Tear Gas Links

Frieze News Desk

25 / 07 / 2019

„Kanders’s resignation letter claims that he has been the subject of a ‘targeted campaign of attacks’ which ‘has threatened to undermine the important work of the Whitney,’ according to The New York Times. 'I joined this board to help the museum prosper. I do not wish to play a role, however inadvertent, in its demise.'“ READ MORE


Whitney Museum Vice Chairman Warren B. Kanders Resigns [Updated]

ARTFORUM editors

25 / 07 / 2019

„While the circumstances surrounding Kanders’s resignation are not yet clear, his last act as vice-chairman was to scold the museum’s remaining trustees:'I hope you assume the responsibility that your position bestows upon you and find the leadership to maintain the integrity of this museum' he wrote.“ READ MORE


Forensic Architecture Becomes Eight Exhibitor to Withdraw from Whitney Biennial

ARTFORUM editors

20 / 07 / 2019

„“Forensic Architecture also believes that it has found incriminating evidence against Kanders through his executive chairmanship of the Clarus Corporation, the parent company of Sierra Bullets, which sells open-tip bullets to Israeli weapons manufacturer IMI, which in turn sells weapons to the Israel Defense Forces, whose soldiers have allegedly committed war crimes.”“ READ MORE


Eight Artists Withdraw From Whitney Biennial Over Board Member’s Ties to Tear Gas

Colin Moynihan

19 / 07 / 2019

„A seventh artist, Christine Sun Kim, said in an email to The New York Times on Saturday that she, too, had asked for her work to be withdrawn from the Biennial. 'As a mother to a 2-year-old daughter, it terrifies me that my work is currently part of a platform that is now strongly associated with Kanders’ teargas-producing company Safariland,” she wrote to curators. “I do not want her to grow up in a world where free and peaceful expression is countered with means that have left people injured and dead.'“ READ MORE


A Letter from Artists in the Whitney Biennial

Korakrit Arunanondchai, Meriem Bennani, Nicole Eisenman, Nicholas Galanin

19 / 07 / 2019

„The Museum’s inertia has turned the screw, and we refuse further complicity with Kanders and his technologies of violence.“ READ MORE


The Tear Gas Biennial

Hannah Black, Ciarán Finlayson, and Tobi Haslett

19 / 07 / 2019

„Kanders may well be no more malign than many of his peers on boards around the country, and it’s to an extent true that, as people like to say, 'all the money is evil,' i.e. capitalist accumulation has as its basis the exploitation, misery, and boredom of people all over the world. But if we believe that our capacity to act against this evil is limited, we should take every opportunity given to us to act.“ READ MORE


Whitney Biennial 2019: Between Resistance and Complicity

Banyi Huang

31 / 05 / 2019

„Amidst the controversy, another thematic issue emerged out of the exhibition: what does it mean to hold an institution accountable? Institutional entities that occupy positions of privilege have increasingly come under fire for replicating insidious power structures through non-transparent operations. The Whitney Museum of American Art is no different, and its biennial exhibition has become a powerful site for impassioned confrontations.“ READ MORE


Whitney Biennial 2019

Travis Diehl

24 / 05 / 2019

„The 2019 biennial tries to see the country through its artists’ eyes. Insofar as they declare, question, revise, sulk, shout—insofar as no one seems exactly happy—it succeeds. But the show—smart, deeply convinced—largely avoids the kind of ambivalently political, cryptically reverent verve that, I’d argue, defines art born in the twenty-first century.“ READ MORE

The New Yorker

The Whitney Biennial in an Age of Anxiety

Peter Schjeldahl

20 / 05 / 2019

„Weinberg and the curators Jane Panetta and Rujeko Hockley bear down hard, in their catalogue essays—which are printed, for some reason, in barely readable, tiny light-gray type—on invocations of historic crisis. Weinberg writes, “How do artists continue to work in the face of mass dislocation and migration, racism and xenophobia, the crisis of neoliberal capitalism, the rise of fascism, and the rapidly deteriorating environment?” I’d say probably as artists always have, by taking the world as it is and competing for glory in service to some social authority, be it that of religion or connoisseurship, billionaires or activist cohorts. The rhetorical challenge is to adduce a unity—akin to herding cats—among a multitude of self-centered interests and causes.“ READ MORE


The 2019 Whitney Biennial Shows America’s Artists Turning Toward Coded Languages in Turbulent Times

Ben Davis

20 / 05 / 2019

„After years of criticism of these survey shows, this is a majority-minority biennial, led particularly by black women. (Indeed, looking for themes, I did a web analysis of the online texts for the show: “black” is the 36th most-used word—about as common as “into,” and more common than the word “biennial.“ READ MORE


The 2019 Whitney Biennial Is Unafraid to Be Beautiful

Evan Moffit

20 / 05 / 2019

„Art that bluntly announces its political intentions usually isn’t just bad art, it’s bad politics. The repulsive force of agitprop often prevents it from getting under your skin – at least if you don’t already agree with its message.“ READ MORE


As the World Turns

Paige K. Bradley

16 / 05 / 2019

„But given that there have been admirably consistent weekly anti-Kanders protests led by Decolonize This Place at the museum in the prelude to the opening, I was anticipating some agitprop drama during Tuesday night’s private reception. Turns out that the group is saving that gesture for the public opening on Friday, which seems appropriately democratic. But then again, the scene at the private opening was rather dull, with one notable exception being artist Bunny Rogers’s gorgeous vintage Miu Miu ensemble, a sight for any true aesthete’s sore eyes.“ READ MORE


The Apprehensive Politics of a Generation Surface at the 2019 Whitney Biennial

Zachary Small

15 / 05 / 2019

„My overall assessment of the 2019 Whitney Biennial is mixed. There’s a lot to like at the exhibition, but there’s not a lot to love. The lack of a strong curatorial thesis (which some museumgoers may like, as it resists a tendency toward grand narratives) ultimately hampers what is supposed to be an authoritative look at contemporary American art. But what defines this artistic cohort is kind of unclear. Conceptual art feels like an afterthought at the biennial.“ READ MORE


Everything is good at the Whitney Biennial but nothing makes a difference

Linda Yablonsky

14 / 05 / 2019

„The majority of the artists included are under 40, but they display less energy than notable seniors who deserve more visibility in museums and generally show with commercial galleries in single, storefront locations slightly larger than your great aunt’s walk-in closet.“ READ MORE

The Vulture

The New Whitney Biennial Made Me See Art History in a New Way

Jerry Satlz

14 / 05 / 2019

„Yet for a Biennial with so much diversity in who is being shown, there’s an enervating lack of formal innovation, as if the curators couldn’t take those kinds of formal chances. As a result, sometimes a whole room fizzles. A number of inclusions are so generic and proper they become placeholders. Often, though, formally non-daring works breathe quiet fire and seethe.“ READ MORE


Amid Controversy, the Whitney Biennial Plays It Safe

Scott Indrisek

14 / 05 / 2019

„There isn’t much here to quicken the pulse, with even the politically inflected works coming across as too polite for our current moment. And if one possible function of the biennial is to act as a kind of cross-section of American artistic practice, this exhibition makes some puzzling choices.“ READ MORE

‘We Were Seeing and Feeling Anxiety’: The Whitney Biennial Curators on How Artists’ Struggle With Debt and Real Estate Shaped the 2019 Show

Terence Trouillot

13 / 05 / 2019

„This selection is the work of biennial curators Jane Panetta and Rujeko Hockley, both of whom are members of the Whitney’s curatorial staff. It was not, however, a deliberate attempt to make the biennial a young and hip exhibition, they say, but rather the result of seeing a common thread among artists today: a sense of urgent financial and professional struggle due to college debt, real-estate development, and gentrification.“ READ MORE


“Soft Power: The Whitney Biennial Is an Elegant But Safe Portrait of Right Now

Andrew Russeth

13 / 05 / 2019

„The Biennial arrives as the Whitney is facing intense criticism for the presence on its board of Warren B. Kanders, the head of Safariland, which manufactures military supplies, including tear-gas canisters that have reportedly been used against migrants along the U.S.-Mexico border. One of the show’s participants, Forensic Architecture, has developed a computer program to identify when its canisters are used, and the group has worked with Laura Poitras and Praxis Films to contribute a short video, with a voiceover by David Byrne (of the Talking Heads), to explain their efforts. It is the Biennial’s big disappointment.“ READ MORE

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