Charles Simonds is an artist who has been making dwelling places for an imaginary civilization of Little People who are migrating through the streets of cities throughout the world. Each dwelling tells part of the story of the lives of these people, where they have gone, what they do, how they live, and what they believe.
Dona Nelson is the smartest person you’ve ever met, but she gets one thing wrong. She says: “I don’t have a signature style.” And if you look at how widely and wildly she has expressed the intensity of her vision, you might nod and agree.
For the past twenty years, Sue de Beer has been using, challenging, and subverting the tropes of horror to make experimental films that are by turns unsettling and beautiful, and infused with a sly-eyed humor. Her sixth major production centers in and around a medical clinic located on a remote island off the New England coast, whose doctors, nurses, and patients all hold their secrets, and are possibly not what they seem. De Beer has long wished to make a werewolf film, and on the occasion of her fourth exhibition at Marianne Boesky Gallery, I sat down with her to preview and discuss her newest piece, The White Wolf.
On Saturday June 30th 2018, on the brink of Mexico’s Presidential Elections, Quiero un Presidente—Mexican poet Luis Felipe Fabre’s free translation and adaptation of Zoe Leonard’s 1992 I Want a President—was read collectively at Hemiciclo a Juárez in Mexico City.
Our prime interest in this interview has been to inquire on the origins of the JPNF and how this museum came to be established in this location. As most of our readers will have not (yet) visited Dubai—indeed, thus far only one of us has made the journey—we wanted to get some essential background information about Dubai’s art scene.
On March 26th Rehan Ansari with George Bolster sat down Rubin Rubin, founder and executive director of Theater of the Oppressed New York City to talk about their new space in Times Square and the politics of real estate in New York, their place in the community of social justice and theater, their impact, and about managing a nonprofit space in the era of the Trump administration.