Translating the human to the digital.
Mediating art, space, and the self on screens.
From a tragic shipwreck to an epic, collective political art project.
The two filmmakers on their new documentary, Web Junkie, about rehabbing the addicted youth of China.
Anya Jaremko-Greenwold sits down with director Alison Klayman to discuss Ai Weiwei: Never Sorry, her documentary about the Chinese artist and outspoken social activist.
What is the family history of a cookbook like The Joy of Cooking?
Just when we thought of Asia as fertile territory for the monumental interventions of a handful of star architects, Joseph Grima features a few projects that let us in on the true nature of the architecture shaping contemporary China, South Korea, and Japan. Although Grima’s methodology, which he calls a “Polaroid of a changing continent,” is fragmentary, the result is holistic.
As of this writing, only a handful of New Yorkers have entered the delightfully mesmeric world of Shen Wei Dance Arts. As of your reading, the company will have premiered Rites of Spring and Folding at the Lincoln Center Festival.
Centered around a 13-year-old substitute teacher in a remote and impoverished rural village, Not One Less delivers an important lesson in worth.
Out there on the road we didn’t have much to do, so when the orange butterflies first appeared to us they were a welcome distraction.
What took three nights to write and five years to prepare for, Li-Young Lee’s memoir The Winged Seed: A Remembrance takes poetic thought and language to a whole new level.
Sigrid Nunez and Kimiko Hahn reflect upon Nunez’s novel A Feather on the Breath of God, discussing the concepts of woman as storyteller, and writing as crochet.
Novelist, playwright, and MacArthur Genius Grant recipient Han Ong has a lively discussion with Jessica Hagedorn about the marginalization of artists of color, his childhood in Manila, and his rapid rise to fame.
As a member of the Fifth Generation, Chen Kaige was key in reintroducing Chinese cinema to the world. Here he talks to Lawrence Chua and Peggy Chaio on the set of what was to become his most well-known film, Farewell My Concubine.
“I don’t feel very much affected by it. Even before Boat People, I got offers to make movies from companies that import films to Taiwan. The companies said they could fix the import regulations. In any case, I could only make one film a year, so it didn’t matter. I’m not losing many offers.” Ann Hui