Abdulnasser Gharem’s “The Safe” (2019) is an installation that puts its visitors inside a padded room that recalls the slain journalist’s torture chamber.
During a conflict between municipal guards and activists protesting the privatization of Kyiv’s cinemas, a group of over 300 protesters was met with violence and homophobic slurs.
At the Venice Biennale’s Polish Pavilion, a monumental sculpture responds to conspiracy theories and nationalist rhetoric surrounding the 2010 plane crash that killed Poland’s then-president.
In the purportedly liberal realm of the art world, an artist like Samia Halaby is certainly deserving of closer attention.
Following an anonymous complaint, the director of the National Museum in Warsaw took down the works of Natalia LL, Katarzyna Kozyra, and the duo Karolina Wiktor and Aleksandra Kubiak, sparking #bananagate.
According to a group of activists, 75% of the artists being platformed at Berlin Gallery Weekend are white and male.
After Björn Höcke called the Holocaust Memorial in Berlin “a monument of shame,” an artist built a replica beside the politician’s home.
The Freemuse annual report is a potent reminder that artistic freedom is in constant need of monitoring.
The exhibition, opening at the Brooklyn Museum in 2020, will feature several works from Hirst’s Medicine Cabinets series.
Tino Segal, famous for his “objectless” performances that are never to be photographed, is now on Instagram.
A contracting company says it “has been left in a precarious financial situation” after the biennial declined to pay its full construction costs. The biennial says a government-approved valuer found “that the amounts demanded by the contractor are arbitrary.”
Poland’s current rightwing Minister of Culture, Piotr Gliński, is accused of attempting to take control of the museum in an effort to curtail its programming and replace its director with a ministry-appointed one.