We are living in a summer where weather extremes have become daily news. Reports in recent days: floods in Scandinavia, a heat record in Morocco, an inferno in Hawaii. The Red Cross fears a disaster year. For Metropolis M, Olivia Brown delved into the frighteningly realistic film-, art- and literature genre of eco-horror. She discusses artists who do not let themselves be paralysed and continue to embrace the open-ended.

In an interview on this website about Anne Imhof's YOUTH the Stedelijk claims that it fully respects the cultural boycot of Russia even though some of the works by Imhof are produced in cooperation with the Garage Museum in Moscow. The Ukrainian artist Yuliia Elyas disagrees and sees a show in support of Russian voices, Russian productions, Russian schemes, and Russian scenery.

In the current media debates about documenta fifteen a very important aspect of the event is almost being absent: the fact that it was a tangible proposal for artists, curators and art institutions concerning how to work differently. This proposal invoked very positive reactions inside a large part of the art scene in Germany and internationally. What were the reasons for this enthusiasm?

In the run-up to this year's Documenta Fifteen, Hamja Ahsan reflects on his stay in the Netherlands and his residency at the Jan Van Eyck Academie (2020-21). For the yearly Open Studios, Ahsan transformed his studio to a public prayer room. At Documenta he will also open a public space, one in which the prayer mats are replaced by a deep fryer. 

How might a social model of disability be practiced within the context of The Netherlands? What would it look and feel like if the Dutch art and culture scene led the way for a radically new way to be solidary with people with a disability? GA NAAR DE NEDERLANDSE VERSIE)