#inbal

#inbal

As the minute hand crept towards midnight, Shane Hatton lay awake in his hotel room in Lviv in Ukraine as sleep continued to escape him.

The Olympus Perspective Playground operates as a fully built system, where walls, lighting rigs, circulation paths, and signage are developed together with each installation, creating a continuous spatial script.

Korneffel develops a palette for each painting based on research and intuition, paying particular attention to the paint's viscosity and its capacity for making distinct kinds of marks.

In the film, Bronz's character is commissioned to compose a new national anthem for post-Oct. 7 Israel, and writes a warmongering ballad about destroying Gaza and 'love sanctified in blood.'

"Most people don't stop to observe the crews' work or the infrastructure they uncover," Tentler-Krylov said. "But these unseen things keep the city going."

"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."

Lapid's frenzied and disgusted vision emerges as he follows the fortunes of a young Tel Aviv couple—a jazz pianist known only as Y and a dancer named Yasmine. Their artistic background is overshadowed by their roles as sexy disco clowns at a big outdoor party for the rich and politically connected.

The title came from starting to look at what would be in the show and realizing that most of the works dealt with people being symptomatic, whether psychosomatically or somatically.

My connection with Fahrelnissa Zeid is incredibly personal. I was a painting student of hers in my mid-teens when I lived in Jordan, and she was a powerful presence in my life at that time.

People all saw that there is something new is being attempted here that you've just got to see. I think that is its own reward. In an era where New York's storied Met Opera has faced layoffs, pay cuts, postponed productions, and a controversial financial agreement with Saudi Arabia, forward-thinking artistic direction becomes essential for survival.

I see myself first and foremost as a weaver working at the intersection of craft and technology. As an Angeleno, I grew up learning how to weave in the Wixárika tradition of my matriarchal bloodline by watching my mother and my grandmother.

Much of Instagram's video content is organized around transformation-the virtual magic of the before-and-after and clips that show cause and effect. A person makes pasta from scratch in 20 seconds via edits that compress time-intensive labor.

Anderson's paintings are a poetic response to place, teeming with personal and cultural resonance, often relating to a feeling of 'being in one place while thinking of another.'

Masha Foya summons moments of joy and surprise through her dreamlike illustrations, portraying spaces and individuals in emotional or experiential states that merge into a single living being.

The Duchamp exhibition at MoMA is encyclopedic, thought-provoking, and sometimes surprising. It spans the entire sixth floor and invites viewers to engage deeply with his work.

Ali Sbeity painted vibrant portraits and landscapes of his rural hometown in Southern Lebanon, often sharing his works on his Facebook. He participated in numerous local arts exhibitions and created murals for schools in Beirut.

Entering Tracey Emin's retrospective A Second Life at Tate Modern evokes the unsettling sensation of reading someone's personal diary, as her entire body of work reflects intimate experiences.

The Lower East Side institution's OMA-designed, $82 million expansion debuted this week to mixed reviews, reflecting a range of opinions on its new look and functionality.

There is a scene in "Morgenkreis | Morning Circle" (2025), a 16-mm film by Berlin-based Palestinian artist Basma al-Sharif, that unfolds at the threshold of a daycare center. A young boy clings to his father, his fists locked into the fabric of his coat, his arms wrapped tightly around him. The father gently tries to pry himself free while a daycare worker crouches nearby, attempting to distract the child and coax him inside. It is an ordinary moment, one that anyone who has ever been a child - or cared for one - recognizes instantly, as well as the gut-wrenching feeling it provokes.

Ong's work contains a deep reverence for the otherworldly, combining the remnants of ancestral knowledge with speculative visions to form a kind of personal myth-making. The title of their latest series, "Always Were", is intentionally fragmentary suggesting a temporal and grammatical ambiguity that points to the liminal nature of Ong's figures and the time and place they inhabit.

This action was not mentioned in the latest letter, which said the deaths of artists, musicians, poets, and journalists in Gaza is 'an attempted annihilation of not just the Palestinian people but Palestinian culture.' It added that 'no artist or cultural worker should be asked to share a platform with this genocidal state.'

As a child, I imagined a place far behind our own sky. A planet with its own weather, its own atmosphere, its own logic entirely. It was my own version of science fiction. How did it feel on this planet? Was it snowy, windy, or could you sense the first green breath of spring-I called it Planet Z.

Regina Silveira has spent the better part of three decades considering the relationship between media and meaning, particularly as it relates to Latin America. First presented in 1997, "To Be Continued..." features 100 black-and-white reproductions of photos, newspaper clippings, propaganda, advertisements, and more. Silveira nests each image into an oversized puzzle piece, which cuts off faces and scenes to leave fragments of pop culture icons, flora and fauna, and even the occasional mugshot spliced next to one another.

Monia Ben Hamouda's work weaves calligraphy, material transformation and ancestral memory into sculptures and installations that oscillate between language and form. In conversation, we traced the conceptual and sensory threads of her practice, unfolding through key works that reflect on heritage, embodiment and translation. Using materials such as iron, stone and pigment, her installations become sites where history is not only referenced but physically felt.