With a precision of scientific inquiry, the exhibition To Be [Defined] examines what it means—and feels like—to live as an antagonist in a story narrated by others.
“There are artists who are more into playing with the rules of art and artists who would rather play with the rules of society and the legal regulations. To me, the real art is the latter—the art that exists between creativity and criminality (not because it’s ‘criminal’, but because it challenges unjust legal practices).”
‘Landings’ is an artistic response to the outpouring number of petrol station applications, other deals with property, shoddy business and the issues of land use.
We’re losing spaces where we can be social human beings. And this is where literature has a space. Authors can identify such cracks and vocalise them.
If refugees and migrants do not simply “become like us”, forgetful of a system which will keep producing its outcasts, the ‘vanguard’ of refugees may become the sign of a new beginning, of the possibility of a different world.
Love it or loathe it, there’s no denying the so called Marvel Cinematic Universe is a dominant cultural force in the early years of the 21st century. But do such films truly reflect the values of the society so willing to consume them? Peer into their latest installment, Infinity War, and the answer might just […]
“The fact that the film is set in the 1950s enables the film-maker to bring in overt examples of ableism, sexism, racism, classism and homophobia.”