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Tausif Noor
Tausif Noor is a critic and doctoral student at the University of California Berkeley, where he studies modern and contemporary art history. His writing on art, literature, and visual culture appears in Artforum, frieze, The Nation, The New York Times and other venues, as well as in artist catalogues and various edited volumes.

Articles Available Online


Devil in the Detail: on Leesa Gazi’s ‘Hellfire’

Book Review

July 2021

Tausif Noor

Book Review

July 2021

British-Bangladeshi novelist Tahmima Anam’s debut A Golden Age (2007) tracks the early stirrings of revolution in East Bengal from the 1950s to the climax...

Art Review

May 2019

Simone Fattal, Works and Days

Tausif Noor

Art Review

May 2019

For the last five decades, Simone Fattal has produced works that refract the particularities of the present vis-à-vis a...

Although I had landed two hours before, I was drinking wine and not coffee as I waited for a friend, a newly credentialed lawyer, to explain his concerns about civil liberties in his country At my back, shrieks rose My mistake had been remembering the yearly transformation of the Bassin de La Villette as festive This visit to a café on the canal’s bank had been my suggestion Floating dive bars lift anchor, replaced by kayaks and bulky platforms within which it’s possible to pilot a child’s plastic boat or, last year’s innovation, to swim A whine reached us from a zipline A boat whose deep pink sail bore a logo for the 2024 Olympics rotated slowly, moored unstably to two buoys The city’s bid was in Meanwhile, temporary metal fences cordoned off the canal, and last August, to walk alongside it, one had to submit to a guard rifling through one’s bag To another American, I pointed out Doric columns, the Villette Rotunda, built in the eighteenth century as a tollbooth in the city’s wall Like a tree, Paris has grown in concentric rings; this wall, where taxes used to be exacted, was succeeded by a looping railway, by the Périphérique highway, and, most recently, by a scheme called Grand Paris, which will incorporate some of the suburbs into an extended Métro web and administrative system So unpopular were the taxes – and, by extension, the Rotunda – that its architect, Claude-Nicolas Ledoux, was imprisoned by revolutionaries in 1793 The American had heard of Ledoux’s dream, a city of three thousand inhabitants laid out radially around a salt works that the architect had built He sketched buildings whose geometries cross Neoclassical and ziggurat – Space-Age avant la lettre A vast orb sunk among mausoleums would serve as a cemetery As with the factory, which centred a director’s house the architect called a ‘temple of surveillance’, the design emphasised sightlines The panopticon was not, for Ledoux, incompatible with utopia On the contrary, in Chaux city, the architecture would refine the thinking of the citizenry[1] They would have nothing to hide Michel

Contributor

March 2018

Tausif Noor

Contributor

March 2018

Tausif Noor is a critic and doctoral student at the University of California Berkeley, where he studies modern and contemporary art...

INTERVIEW WITH ANAND PATWARDHAN

Art Review

July 2018

Tausif Noor

Art Review

July 2018

By the late 1990s a right wing government in the shape of a BJP-Shiv Sena alliance had come to power for the first time...
Danh Vo, Take My Breath Away

Art Review

April 2018

Tausif Noor

Art Review

April 2018

‘When you love, you are nailed to the cross,’ says a character in Rainer Fassbinder’s film In a Year of 13 Moons (1978). In...

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fiction

Issue No. 8

The Lady of the House

Claire-Louise Bennett

fiction

Issue No. 8

Wow it’s so still. Isn’t it eerie. Oh yes. So calm. Everything’s still. That’s right. Look at the rowers...

fiction

January 2014

The Black Lake

Hella S. Haasse

TR. Ina Rilke

fiction

January 2014

Oeroeg was my friend. When I think back on my childhood and adolescence, an image of Oeroeg invariably rises...

Art

Issue No. 11

Sarah Jones

Sarah Jones

Art

Issue No. 11

A series of photographs by the acclaimed British artist Sarah Jones is published in The White Review No. 11. 

 

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