Christo came back to Oberhausen after 14 years from his first creation specifically conceived for the Gasometer. His artworks either enhance the presence of a single, low-profile element, or they delete one relevant monument under endless PVC blankets. As for the Gasometer, Christo exploited both schemes in two different interventions.
On Slate.com you can read a very good example of comics journalism by Andy Warner: The Displaced narrates the odyssey of Syrian refugees.
Afghan women stare at us in Reto Albertalli’s portraits, part of his photography project which illustrates both an existential and a social condition.
Viewers could assume there are no concrete skills beyond contemporary art. Let me recall how Marina Abramović proved them wrong during a performance at MoMa, in 2010.
In Carver’s works, the attention is narrowly focused on characters’ drama. His characters are so frail, still tenacious. Their everyday struggles seem to be too overwhelming and don’t give their mind a rest. Carver doesn’t seem to care about neither what happened before or what will happen later, not even why it happened. Since telling a story is to give order to life, he prefers to carefully listen to what life itself has to say.
For a job application, I was asked to write about a city in Italy – in both Italian and English. I chose Bari, not so far from the place where I was born.