THIS YEAR, the vaunted quinquennial Documenta 14 will take place in two cities, opening in Athens on April 8 and in Kassel on June 10. Artistic director Adam Szymczyk—who is collaborating with an extensive team that includes curators Pierre Bal-Blanc, Hendrik Folkerts, Candice Hopkins, Bonaventure Soh Bejeng Ndikung, Hila Peleg, Dieter Roelstraete, and Monika Szewczyk—sat down with Artforum editor Michelle Kuo to discuss the broad range of sites, forms, and ideas at play, from the democratic ideals of classical antiquity to the crisis of contemporary austerity.
By The Guardian
Dominika Gesicka is a Polish photographer who travelled to the remote Arctic town of Longyearbyen, to put together her ongoing photo series This Is Not Real Life. Her work on show at the Format festival, Derby, until 23 April.
In her series This Is Not Real Life, photographer Dominika Gesicka celebrates the stark beauty of the Svalbard archipelago.
By Juxtapoz Magazine
Nuart has curated M-City once again, this time covering a city bus in Stavanger, Norway with a poignant commentary on the refuge crisis on European shores.
Titled Pontoon, the work attests to M-City’s concern about the plight of migrants who embark on the dangerous journey to Europe by sea. The bus entered traffic this week and will undertake some of the 85,000 journeys that are registered daily in the city.
By Alana Semuels / The Atlantic
A new book argues that the giving patterns of today’s wealthy may present challenges to the democratic process.
In 2011, Michael Bloomberg gave the Sierra Club $50 million, the biggest donation in the club’s history, to expand the organization’s Beyond Coal initiative, which sought to shut down coal-fired power plants across the country. He gave $30 million more in 2015. The Beyond Coal campaign now says it has helped shut down 251 coal-burning plants, thanks in large part to Bloomberg’s donations.
From the Contemporary Lynx archives:
by Magdalena Niedużak
Brutal by a Polish photographer Michał Łuczak (member of the Sputnik Photos collective) is a great example of a micro-documentary choosing to tell ‘little’ stories instead of grand narratives. In his cycle Łuczak documented Katowice Railway Station – once a prime example of brutalist architecture in Poland.