#menashe-zalka

#menashe-zalka

"I lost my parents on Oct. 7, but I won a brother. And for me, it's not a partnership, it's not a friendship, it's a brotherhood."

Inframundo invites visitors to look inward and become a rock, drawing on the landscape shaped by cenotes, which are thought to be portals to the Maya underworld.

Pilar Zeta builds environments like dreams that feel like stepping into a thought mid-formation. Her sculptural works take shape in the form of portals and objects that invite direct engagement, as visitors are invited to walk through them and notice subtle shifts in perception.

In 2025, Dmae Lo Roberts embarked on a statewide storytelling experience focusing on personal stories from both artists and community members. These stories are a form of living oral history.

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 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.

Mara Naaman's academic career includes serving as Assistant Professor of Comparative Literature and Arabic at Williams College from 2007 to 2014, and she has held teaching positions at Columbia University, New York University, Hofstra University, and Hunter College.

Oshatz worked on a monumental scale to represent underwater scenes, creating a full stage silk backdrop. He also designed hand painted silk waves that dancers moved across 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.

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.'

Abraham Vazquez has this lusty, powerful, aching voice. This song is about loss, and you feel it with every inch of intensity that he's performing.

Cezar Berje's visual approach is a mix of chaos-vibrant colours, symbols, and new age psychedelia. His illustrations often suggest universes within universes, with each part of the image telling its own story through symbols and references.

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.

The revitalization of Praca Mashiach Now has transformed a degraded space in the Northern Zone of Sao Paulo into an urban green infrastructure, coordinating environmental recovery, active mobility, and social activation in a territory historically dominated by automobiles.

Textiles are a window into the communities that created them, with every motif and line signalling a different memory, tradition or identity. Often seen as folk art, these pieces of embroidery and weaving bring together dozens of narrative threads, from Japan to South America. But nowhere is it more fraught with meaning than in Palestine.

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.

The brutal crackdown in Iran, ICE in Minneapolis, Russian aistrikes in Kyiv and heavy rain in Gaza the past seven days as captured by the world's leading photojournalists

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.

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.

find one another in the dark,

"The show is about giving the pen back to the writer, giving the paintbrush back to the artist, during this time of genocide," the Ridikkuluz told Hyperallergic in an interview at the gallery. "And when there's been so much censorship, these are artists that might not have been able to do this anywhere else."

the artist's newest body of work responds to an urgent question precipitated by the catastrophic events of the past year: What does one do when the world collapses? The works attempt to make sense of her experience of the fire and its enduring aftermath, while continuing her exploration of the poetics of loss, displacement, and migration. Kahraman views these works as an offering, a libation, to a burning world.

As an artist, having the freedom to create without boundaries is incredibly rare. That's why I reference the Sistine Chapel-not to compare myself to Michelangelo, but to evoke that moment in history when an artist was entrusted with complete creative freedom to interpret humanity as it was understood at the time,