Two artists recast the iconography of consumerism—one into tradition-bending Kuwaiti dowry chests and the other into sculptures evoking raw flesh.
The post-punk-turned-food-critic on New York City’s varied cuisine.
Last spring, inspired by Édouard Glissant’s theory of mondialité, I created an experimental performance salon at The Kitchen, featuring sound stories with an attitude of globality and an improvised/ambient/chanting vibe.
As he prepares his musical—part video, part performance—for Performa 19, the Thai-born artist shares thoughts on Ghost Cinema, the ritual circle, storytelling, and empathy.
The Atelier’s research into urban morphology and their transformation of its precepts form the basis for Made in Tokyo: Architecture and Living, 1964/2020, an exhibition opening at the Japan Society this October.
The filmmaker and photographer discusses the return to her work on Russia’s inmates.
Art and exchange in extraterritorial territories
The international novel, mistranslation, and blogging in print.
Shining a light on Latin American cinema.
Michael Glawogger makes movies about humans in a globalized world. Things don’t look good.
Jarett Kobek’s novel ATTA reads as a relentless laceration of the fear and disaster mythologies of globalized empire.
Claire Barliant talks to Julia Christensen about her work as a multimedia artist and writer.
From his investigation of maritime space to his extensive travels to world seaports, Allan Sekula’s trajectory transforms and connects domains that aren’t usually compared. His practice has extended from photography into filmmaking and recently, curating.
The president and creative director of his own design firm and the force behind a range of interdisciplinary projects and partnerships, Bruce Mau speaks with Kathryn Simon about drift, vision, and his unique studio environment.
In Pilot for a Soap Opera about an Egyptian Air Hostess, Sherif el-Azma conjures the quiet tension of an object about to fall.
Reviewer Carlos Brillembourg finds the absurd task of representing 500 years of Brazilian history in a single exhibit further hampered by Jean Nouvel’s Guggenheim redesign and the franchising of the museum brand.
Sure, the painter Shahzia Sikander, born and raised in Pakistan, manages to flip the script on the whole history of Indian miniatures, but to position her as an artist throwing off the oppressive yoke of male patriarchy, Islamic censorship, or the pervasive Western fantasy of South Asian culture as simply some kind of prohibitive version of Footloose does a disservice to her work.