Pina is a commissioning platform that collaborates with artists to produce exhibitions-in-print. Each commission unfolds across 60 pages, and is accompanied by both a new short story and a conversation between the artist and a notable thinker. 

Featuring exhibitions by American Artist and C.B. Evans, Pina issue #3 is a timely meditation on hyper-capitalism and polycrisis, and an urgent reworlding of political and community systems.

American Artist presents ‘Power Grid’, an immersive mapping of contemporary experience along X-Y axes intersecting poverty, wealth, captivity and freedom. Deftly referencing 20th century conceptualist forebears, the grid lays bare a matrix of disparities inherent to life under late-stage racial and extractive capitalism: from ‘being in love’, situated between poverty and freedom; to ‘political asylum seeking’ at the extreme of poverty and captivity; and ‘recreational space travel’ as the ultimate manifestation of wealth and freedom. In Pina, ‘Power Grid’ takes the form of a detachable, translucent poster, which can be mapped onto a network of screenshots from 24-hour news cycles that correspond to various gridpoints. The images’ motion blurred, frenzied and often humorous contents juxtapose the grid’s cool logic. American Artist’s exhibition is accompanied by a newly commissioned short story by London-based writer, researcher and Goldsmith’s University lecturer, Dr. Lola Olufemi (Feminism Interrupted: Disrupting Power, 2020); and an in-depth conversation with New York City-based writer, scholar and archivist of trans and queer visibility, abolitionist and black thought, Che Gossett.

C.B. Evans’ exhibition ‘For Your Consideration’ takes the form of an expanded treatment for their first feature-length film: a neo-noir speculative fiction set in 2026, but a 2026 in which the internet has been down for ten years. A global corporation, GAMMA, has commoditised a cloud archive of memories that survived its crash. The film's protagonist, Réception, works as one of their employees. The assasination of Réception's brother spurs her to join a queer, nomadic resistance movement, who hatch a data leak and subsequent global geopolitical crises. In Pina, Evans’ treatment gains meta-layers that provide insight into the making of a feature-length film. The audience is not only exposed to its nascent creative stages, but to the extreme vulnerability that belies funding applications, triumphs, failures and feedback, mirroring Evans’ long-standing fascination with the ways emotion comes in contact, and rebels against political and technological structures. C.B. Evans’ exhibition is accompanied by a short story by Manchester-born, Tokyo-based Orion J. Facey (The Virosexuals, 2019) and a conversation with organiser, writer and professor Dean Spade (Love in a Fucked Up World: How to Build Relationships, Hook Up, and Raise Hell, Together, 2025).