"Technology is both the remedy and the poison," artist Cao Fei quotes Bernard Stiegler, emphasizing the complex relationship between technological advancements and their impact on human practices.
"It's a really special spot. When you start at the top and move down the gently sloped ramp, you almost feel like a marble tumbling down, looking at art as you roll by. The slight slant plays with your sense of perspective and grounding."
"It's bizarre to watch people in this way - even in gay cruising areas you wouldn't stare at other bodies this intensely. Now, whenever I go to a concert, especially at the Berliner Philharmonie with its encircling seating, my gaze hovers over the audience as well as the stage."
The Grand Palais in Paris unveiled an enormous exhibition focusing on the final 13 years of Henri Matisse's life and work, featuring abundant examples of his celebrated gouache cut-outs.
We want to make this the most comprehensive historical survey of Chinese art in the first quarter of the 21st century. That was the first exhibition to introduce Chinese experimental art to the international art world, right after the end of the Cold War.
On Franklin Street in Brooklyn's Greenpoint neighborhood, one non-commercial gallery fosters 'a small, stubbornly human space for friction.' Friction—the ubiquitous buzzword that captures the simultaneous delight and discomfort of doing things the slow way—is at the heart of artists Pap Souleye Fall and Char Jeré's current show at Subtitled NYC. It also reflects the overall spirit of this little exhibition space and of a burgeoning movement to reject our culture of optimization in favor of a bumpier, more intimate, less alienating experience.