#michael-defilippis

#michael-defilippis

"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.

Ruinart has invited internationally renowned artists to artistically interpret the Maison since 2008, with this year's collaboration featuring Tadashi Kawamata's unique vision.

Faces of Death follows a pathologist trying to understand what happens when we die, subjecting himself and the viewer to a series of 'snuff' films depicting violent deaths.

The Walking Man has been spotted around various New York City subway stations, awarding fans with prizes and terrifying unsuspecting straphangers with an unsettling smile.

Many critics praised the new building as 'a shot of rejuvenating playfulness' and 'brilliantly subtle,' while others noted it appeared rushed with visible flaws like packing tape on the staircase.

The entire indoor journey, from entry to elevator to the 100th floor, has been reimagined as a multi-sensory, immersive environment. The overhaul comes via a collaboration between experiential design firm Journey, multimedia studio Moment Factory and NYC-based design outfit SOFTlab.

The dream is the confusion machine I didn't have to build, a space where perception slips beyond authorship. Within Communal Dreams, influence operates as a subtle signal rather than a directive force.

"We find beauty out of struggle and out of something broken," says the artist, emphasizing the importance of representing life in Brooklyn through the exhibit.

"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 title was spontaneous, impulsive. It was inspired by Kenneth Anger. He has two films with 'Rising' in the title - 'Lucifer Rising' and 'Scorpio Rising' - and I wanted to make something in this supernatural, surreal, occultist, exaggerated, fantasy world, like his films.

Censorship strips innocence from the young and kindness from the elderly. It discourages people from valuing justice, fostering selfishness instead.

Kyoung Chun's creative practice moves between painting and site-specific installation. Interactive works extend the language of painting beyond the canvas, inviting viewers into environments that challenge perception and encourage connection.

"We are uniquely global and local, historic and contemporary, collection driven and exhibition driven," Westermann said. "I really needed someone who understands that complexity."

Seeing the Alhambra in Granada was an extraordinary experience for me. It was the first time that I understood painting as something other than an object hanging on a wall. I thought that paintings could be in a fixed place, made for that place, made for the light of the place, experienced kinesthetically.

Jasper Johns seemed to reject the tortured, in-the-moment 'I' of Abstract Expressionism, ironically commenting on the heroism and spontaneity associated with Jackson Pollock and Willem de Kooning in his early work.

Flusser believed that the transformation brought about by new media would reshape the world, leading to a consciousness defined by images rather than the written word.

"The first step towards a cure is admitting you have a problem," artist Josh Kline writes, highlighting the inequities in New York City's real estate market and its impact on art.

The new New Museum is many things: contemporary, perhaps, but also a science, history, anthropology, and many other museums in one. It echoes the desire of its patron class to own the world and its affiliated courtier class to deliver it to them on a silver platter, or encased in perforated metal, in this case.

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.