Friends and family remember Rebeccah Blum, who was killed in Berlin on July 22.
I had previously wished to have the tourists and school groups disappear, but as Berlin museums reopen, it feels reassuring to see famous artworks still up, but also eerie to see them without a large audience.
The Voice Before the Law explores the ways in which linguistic uses and misuses are bound to legal systems.
The artist’s act of pulling materials apart and stitching them into a new form creates a tangible bridge between the past and the present.
A nightclub advocacy group went before the German Parliament to request new laws that will protect the nation’s clubs from gentrification.
Inspired by Jean Genet’s 1950 homoerotic Un Chant D’Amour, Pauline Curnier Jardin’s recent film Qu’un Sang Impur (2019) interrogates patriarchal credo through the lens of its unseen bodies.
The world-renowned dissident artist, who is celebrated in the gambling community as a “Blackjack Guru,” explained the story behind the lawsuit in a New York Times op-ed.
After years of refusal and controversy, German cultural authorities allowed artist and designer Cosmo Wenman to publish scans of the 3,364-year-old bust under a Creative Commons license.
In Horizontal Vertigo: WangShui, the Julia Stoschek Collection hosts an exhibition of new works by the New York-based studio known for their explorations of technology, identity, and diaspora.
During a performance piece in Berlin, Steyerl demanded state-run art institutions stop showing her work as part of the country’s “external cultural diplomacy” until the country changes its policy toward the Turkish invasion of Kurdish areas in northeast Syria.
Videos of a birthing in reverse in Candice Breitz’s Labour document the process of mothers undoing the moment they gave birth to men who would become tyrants and dictators.
Doğan and three other artists adorned their bodies with cave paintings from Hasankeyf, an ancient Mesopotamian city, to protest its imminent destruction caused by the construction of a new dam.