Exploring the intersection of Blackness and geological time, Cauleen Smith’s film The Deep West Assembly (2024) debuts at her Astrup Fearnley Museum solo show in Oslo. In the film, the American artist juxtaposes imagery of geological formations and human-made landforms with narration drawn from various texts, including her Volcano Manifesto (2022), to articulate the deep time of the Mississippi River Delta. A video installation, textile banner series, and reading room round out the exhibition.

A survey of Ho Tzu Nyen’s output over the last fifteen years, “Time & the Cloud” opens at Seoul’s Art Sonje Center. Amongst the collected works, the Singaporean artist presents two projects building on his well-known The Critical Dictionary of Southeast Asia (2012-17): T for Time (2023-24), which contrasts Eastern and Western cultural perceptions, and Timepieces (2023-24, image), a sprawling 43-monitor video installation that “offers viewers a profound new perspective on the nature of time.”

The 60th International Venice Biennale opens in Italy with its usual dynamic roster of global talent. Excitingly, Archie Moore populates Australia’s pavilion with kith and kin (2024, image), a dizzying “holographic map of relations” charting 2,400 generations of the artist’s Indigenous ancestry and its many ties to the living world. Other pavilions of note include Hungary (Márton Nemes), Iceland (Hildigunnur Birgisdóttir), and Lithuania (Pakui Hardware & Marija Teresė Rožanskaitė).