The Cathedral of Joy

One-on-one with Alfredo Jaar, Damien Hirst’s secret life, Anish Kapoor's optical trickery, and another BS "most influential" list.

The Cathedral of Joy

At a cafe named Anti Cafe — though it looks like any other cafe — a man is writing dozens of cards by hand, sealing them inside pretty little envelopes, and stacking them in a pile on the table.

After half an hour of observing him from the next table, I finally ask, “Are those wedding invitations?” 

“Nope,” he replies.

“Birthday party invitations?”

“Nope.”

“So what are they for, if you don’t mind me asking?”

“Just letters to my friends to show them how much I appreciate them,” he discloses with an air of self-satisfaction. 

“Oh, that’s so beautiful,” I say with my hand on my heart, feeling sincerely touched. But as I leave the cafe, I begin wondering if that guy is okay. 

Down in the subway station, I see another young man using a Sharpie pen to make meticulous drawings of the Manhattan grid on a large piece of cardboard. Avenue by avenue, street by street, the lines in his map are perfectly straight without the use of a ruler. I see him doing the same thing on the same subway bench the next day and admire his dedication. On the third day, it dawns on me that this young artist lives in the subway. 

At night, I see a group of grinning people walking around with grabbers, searching for litter on the sidewalk. “We’re just helping clean up the neighborhood,” one of them tells me. “Oh, that’s so nice of you,” I say, feeling genuinely impressed. But then I notice that everyone is suspiciously good-looking and that there’s barely any litter to pick up. It appears that the members of this “trash club” are here to pick up more than just trash.  

A flock of birds in the sky makes the shape of a middle finger, reminding me it’s migration season. At the pierogi place, not a single soul is Polish. Global Wealth Clothing sells garments to the poor. The Cathedral of Joy is in a miserable spot. A place called The Community is empty of people. And on one of the windows of a shiny new building, a sign reads in big letters: "Warning: rat infestation. Tenants on rent strike."

—Hakim Bishara, editor-in-chief

PS—If you’re in New York on September 30, come meet me at the International Studio & Curatorial Program, where we’ll talk to resident artists and enjoy some refreshments.


Alfredo Jaar Is Still Trying to Change the World

In April of 1987, when Reaganism was running amok and Henry Kissinger was fiddling with world affairs like a puppet master from hell, a relatively unknown 31-year-old Chilean artist named Alfredo Jaar staged his billboard installation A Logo for America smack dab in the heart of Times Square. It instantly became one of the most discussed works of political art in the contemporary canon.

Appearing between ads for tomato sauce and a Mexican restaurant, the 42-second LED animation bewildered New Yorkers with the message “This Is Not America” superimposed on a map of the United States, followed by an image of the US flag with the text, “This Is Not America’s Flag.” Next, the “R” in America shifted into a dancing map of South, Central, and North America. | Hakim Bishara

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