This depicts Guernica after the battle. The figures are no longer fighting. They're in a giant pile. They're exhausted and there's a sunrise on a new day behind them. The title of the work is A Whole New World (for Who?). It's asking what's going to happen after the conflicts that we have. Who's going to be taken into that new world?
The ostraca show us an astonishing variety of everyday situations. We find tax lists, deliveries, short notes about everyday activities, religious texts, and priestly certificates attesting the quality of sacrificial animals.
"This is me training myself to be still and slow. That's what I struggle with. I will spin out at top speed. My struggle is always just pullback."
The New South Wales Jewish Board of Deputies filed a letter of complaint to the police, asking them to urgently investigate comments allegedly made by Muzeyyen during her performance.
In many ways working in the tradition of Kazimir Malevich and Josef Albers, his compositions employ a language of squares and rectangles known as "Cells" and "Prisons," connected by bold lines called "Conduits." Together, these geometric and linear arrangements tap into the inherent geometry that structure reality, and conceptually refer to the construction of everyday life, both public and private as well as physical and psychological.
"A primary goal of this grantmaking is to diversify our funding impact and make ourselves accessible, while developing partnerships with institutions in all 50 states, American Samoa, Guam, the Northern Mariana Islands, Puerto Rico, and the US Virgin Islands."
The evening, spearheaded by directors Sam Bardouil and Till Fellrath alongside patrons Monique Burger and Christine Würfel-Strauss, arrived at a fraught moment for Berlin, whose cultural scene faces funding cuts of roughly €130 million.
