As part of its spring budget announcements, the United Kingdom's government has revealed plans to increase the Air Passenger Duty (APD) for passengers flying in premium cabins.
01.03.2024 - 03:31 / forbes.com / Art
The birdcage was perfected in communist Hungary. In 1972, István Haraszty outfitted a parakeet dwelling with a sophisticated surveillance system that opened the door when the inhabitant was idle and shut it if she moved to escape.
Haraszty was not an industrial engineer. He was an artist living in a place where everyone was watched and nobody could leave. When he explained that the cage was an automated living space optimized by electronic monitoring invisible to the inhabitant – as he did in a short film made in 1974 – he was describing the experience of living behind the Iron Curtain. For his fellow Hungarians, the irony was self-evident. His deadpan description of the technology was a critique of a government that could not be openly condemned.
Few people living outside the Eastern Bloc would have encountered Haraszty's artwork, or even his name, when Hungary was shut off from the West. Even fewer know his work today, a fate that has befallen hundreds of talented artists working in countries such as East Germany and Czechoslovakia from the 1960s through the '80s. A major retrospective at the Walker Art Center seeks to overcome Western ignorance about experimental art in the Eastern Bloc by presenting dozens of exemplary works as well as the contextual information needed to appreciate them in full.
The context is crucial, and the essence is in the details. Decades after the fall of the Soviet Union, Cold War ideology continues to form Western perceptions of the Eastern Bloc as a backward region, uniformly totalitarian, where everybody was either an apparatchik or a dissident. As the curators make clear, binaries are deceptive. Mid-century Eastern Europe was a realm of "multiple realities".
External conditions varied with the geography and changed over time. Each artist responded internally with as much individuality as any artist in the West, albeit with greater ambiguity when external conditions necessitated. "Wary of instrumentalizing their voices to serve a social or political purpose, and always aware of the specter of censorship that hovered over their daily lives, artists sought to be political in the most unpolitical ways," Pavel S. Pyś observes in his introduction the exhibition catalogue. "Subversive meaning was smuggled through strategies of deflection, ambivalence, satire, humor, irony, absurdity, doubt, or disinterest, while the autonomy of artistic practice was often negotiated by embracing conflicting and dual positions."
If Haraszty's Birdcage might be misunderstood by a Western viewer, other works in the exhibition might not even be noticed. In mid-1970s Poland, the Akadamia Ruchu collective took up the habit of stumbling in the street. Members would trip over invisible impediments,
As part of its spring budget announcements, the United Kingdom's government has revealed plans to increase the Air Passenger Duty (APD) for passengers flying in premium cabins.
February was a relatively quiet month in terms of travel advisory updates from the U.S. State Department.
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The Hawaii-born artist Toshiko Takaezu was known for her ceramic works that redefined the genre with their “closed forms,” as she called them — sealed vessels whose hidden interior spaces were meant to activate the imagination. Next month, Takaezu’s life and work will be the focus of a major retrospective at the Noguchi Museum in Long Island City, Queens. “Toshiko Takaezu: Worlds Within” will present over 150 pieces from private and public collections around the country, co-curated by the art historian Glenn Adamson, the museum curator Kate Wiener and the composer and sound artist Leilehua Lanzilotti. (A 368-page monograph, published in collaboration with Yale University Press, will accompany the exhibition.) Visitors will be able to see a collection that spans seven decades of Takaezu’s career, from her early student work in Hawaii in the 1940s to immersive, monumental ceramic forms she produced in the late 1990s to early 2000s. “Takaezu was also a weaver and painter, and often constructed multimedia installations where her ceramics, textiles and paintings operated together,” says Wiener. To play off this idea, the curators organized the show chronologically, incorporating each of these media into various sections, inspired by Takaezu’s own installations. Sound will also play a role. In her ceramic pieces, Takaezu would often place a dried fragment of clay within her closed form vessels, creating a musical rattle. For this exhibit, Lanzilotti (a finalist for the 2022 Pulitzer Prize in music) has developed a series of videos offering insight into the sonic elements of Takaezu’s work — and visitors can hear those rattles firsthand via an interactive display. .
Cruise fans on the West Coast are about to have a major new option.
Renowned Canadian photographic artist and filmmaker Edward Burtynsky has taken over two vast floors at London’s Saatchi Gallery to present Extraction/Abstraction, the largest exhibition of his 40 year career. His remarkable photographs and films of global industrial landscapes represent his dedication to bearing witness to the impact of humans have had on the planet.