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Did the art world help to normalise insider knowledge, speculative culture, and legitimising of crisis profits? The answers lie in the very systems supporting the creation of art today.
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The “Epstein class”, with its ceaseless cascade of horrors, violence, and extremist causes, are a mere fraction of today’s globally networked elites. The latest files provide an unrelenting look into behind-the-scenes machinations that protect and enable this socioeconomic stratum.
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Next year, Para Site, one of Asia’s oldest independent art spaces, will be celebrating its 30th anniversary, an age that is near-mythic for a non-profit in these financially constrained times. Yet Junni Chen, currently Interim Executive Director at the institution, approaches its future with a strong sense of its DNA being rooted in change.
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If you are working in the arts today, you are part of an unprecedented crisis due in part to a globally weakening labour market. A slew of multinational companies, including tech conglomerates IBM, Meta, and Amazon, have announced massive job cuts.
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Running from 10 to 30 October 2025, the second edition of XAOS – International Festival of Experimental Music and Visual Art is currently in full swing in Ulaanbaatar, Mongolia, with an apt curatorial theme, no less. Transformation, the word of the millennium.
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