“The impossibility of reforming Tony [Soprano] bears some resemblance to the crisis plaguing museums and toxic philanthropy today, where a culture of bullying and exploitation belies programming of socially- and politically-engaged art.”
A Belarusian art exhibition untangling the country’s response to the coronavirus was closed by authorities this March, leading to the arrest of several of its organizers.
Last month, CulturalDC postponed its projection of a bloody artwork by Andrei Molodkin, which floods an acrylic model of the White House using blood donated by US citizens.
Human rights experts have expressed distress that the pandemic has increased attacks against free speech, LBGTQ+ rights, and peaceful assembly.
Ahmet Öğüt demanded the Yarat Contemporary Art Center remove his work after it featured the exhibition banner in a post using the hashtag #KarabakhIsAzerbaijan.
Accused of propaganda for depicting destruction by Turkish military forces, Doğan’s graphic novel about her experience is now on display for the first time.
Freedom of speech and creativity continued to face acute threats in 2019, but artists and curators continue to be at the forefront of the dangerous but necessary work of driving social change.
After ousting the previous director, the ministry plans to hire a new director without the customary open call process. The nominee, Piotr Bernatowicz, has been accused of misogyny and anti-Semitism.
Kara Walker upends the Tate Modern with a massive fountain, renewing the debate about the nature of public monuments in the heart of violent empire.
Poland’s current rightwing Minister of Culture, Piotr Gliński, is attempting to replace the director of a major cultural institution with a ministry-appointed one.
In this Warsaw exhibition, the investigative research group shows that the destruction of land can expedite acts of violence upon the people who inhabit it.
In Germany, an exhibition seeks to explain the rapid rise of the alt-right.