In the wake of Russian and regime-led airstrikes on the already abused Syrian city of Aleppo, I saw it again: the raised hand, a meme I had been obsessed by during the first street protests of spring 2011.
Surveying the reporting on Syrian antiquities over the last six years reveals a parade of errors, but it is noteworthy that most, if not all, of the errors cut in the same way: to inflate the threat ISIS poses to cultural heritage while ignoring the threat posed by other armed groups.
This week, the persistence of the non-modern, breaking up with the arts, photography and ethics, opera surprise, and more.
As the Turkish government announced that the Hagia Sophia will be converted back into a mosque, one of the primary responses worldwide has been to assert that the edifice constitutes “universal” heritage, that it belongs to all of us.
Since the World Heritage List was first started in 1978, there has been a persistent link between inclusion on the list and forced relocation of residents, who are typically poor or marginalized.
British poetry is really as energetic and varied as its American counterpart.
This year’s Brighton Photo Biennial searches for a “new Europe,” while expressing sympathy for migrants.
“We want to look at a community level that’s rarely taken seriously in academia or in the art world.”
This week, a new biography of Carleton Watkins, Noam Chomsky on the State of the Empire, Mac Collins’s afrofuturist chair, Brian Acton spilled the beans on Facebook, and more.
Set to attend the opening of his exhibition at Miami’s Museum of Art and Design, Eyal Weizman was told by an officer at the US Embassy in London that his visa was revoked for triggering a “security algorithm.”
Also, the Hermitage Museum will loan Leonardo da Vinci works to Italian galleries in lieu of the Louvre, Tennessee gets a triennial, and more.
An interview with artist Christine Gedeon about her current exhibition explores her personal history in Aleppo and a particularly painful family story.