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Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional.
In Another Aesthetics Is Possible: Arts of Rebellion in the Fourth World War (Duke UP, 2021), Jennifer Ponce de León examines the roles that art can p…
Who do you turn to at the brink of the apocalypse? What might help us to mitigate the financial, commercial, political, social, and cultural collapse …
Artists Remake the World: A Contemporary Art Manifesto (Yale UP, 2023) puts forward an account of contemporary art’s political ambitions and potential…
Today I talked to Benjamin Studebaker about his new book The Chronic Crisis of American Democracy: The Way Is Shut (Palgrave MacMillan, 2023) America…
Then let the story really begin in 1968, though it has little to do with May. By chance it opens in January of that year, and it really concerns me ra…
On an afternoon in January 1865, a roaring fire swept through the Smithsonian Institution. Dazed soldiers and worried citizens could only watch as the…
On the centenary of the fascist party's ascent to power in Italy, Curating Fascism: Exhibitions and Memory from the Fall of Mussolini to Today (Blooms…
In Uncommon Sense: Aesthetics after Marcuse (MIT Press, 2022), Craig Leonard argues for the contemporary relevance of the aesthetic theory of Herbert …
Listen on Apple | Listen on Spotify NFT, BTC, DAO, ETH, WAGMI, HODL. It would have been hard to avoid these acronyms only a year ago. The hype around…
The relationship between images and truth has a complicated history. In the Western tradition, the Kantian settlement on aesthetic judgment as detache…
During the first months of the pandemic, governments worldwide agreed that ‘following the science’ with hard lockdowns and vaccine mandates was the be…
For the past two decades, the arts and cultural establishment in the UK has been trying to engage a broader set of audiences in their work. Countless …
Art has a long history of engaging with conflict and violence. From the antiquities, through Goya, to Guernica, our museums are filled with depictions…
In the 1990s, a network of twenty Soros Centres for Contemporary Art sprung up across Eastern Europe: Almaty, Belgrade, Budapest, Kiev, Ljubljana, Pra…
Why is the internet making us so unhappy? Why is it in capital’s interests to cultivate populations that are depressed and desperate rather than drive…
It’s easy to forget that the cultural archetypes that pass for queerness today have historical roots. Some of these roots are mere years away from tod…
Since the global financial crash of 2008, artists have become increasingly engaged in a wide range of cultural activism targeted against capitalism, p…
Decolonisation has lost its way. Originally a struggle to escape the West’s direct political and economic control, it has become a catch-all idea, oft…
Art After Liberalism (Columbia UP, 2022) is an account of creative practice at a moment of converging political and social rifts – a moment that could…
In 2008, the artist Renzo Martens released his controversial film Episode 3: Enjoy Poverty filmed in the Democratic Republic of Congo. The film portra…
Faced with waning state support, declining revenue, and forced entrepreneurialism, museums have become a threatened public space. Simultaneously, they…
How can a library change the world? How can an art library change the art school or the gallery? Or even an art practice? In Shelf Documents: Art Libr…
We are not what we think we are. Our self-image as natural individuated subjects is determined behind our backs: historically by political forces, cog…
Labour has taken an about-turn. From Adam Smith’s proposal for specialisation which saw the factory line reorganised so that each worker needed to und…