The Global Art World Flies. Should It Fly So Much?

‘You live on one continent and work on two others.’ You have ‘a firsthand knowledge of the sunrise over the Po, the sunset over Shenzhen, the crackle of the midday sun as the Acqua Alta wets your calves’. You might be a poor culture-ronin, but you have accidentally attained an enviable ‘air of weary cosmopolitan glamour’, which follows you back to your shabby, expensive flat. But with climate change… – Frieze

On The Edges Of A Huge South American Landfill, An Orchestra With Instruments Made Out Of Garbage

Most people who live near the Cateura dump outside Asunción, the Paraguayan capital, scratch out a living by digging out anything that can be resold, and buying a musical instrument would be an impossible dream. But local carpenter Nicolás Gómez and music teacher Favio Chávez decided that they could build musical instruments and give children there free music lessons — and so the Recycled Orchestra of Cateura was born. – Al Jazeera

At The Beginning Of The Decade, Celebrities Were Worried About Paparazzi

In 2011, “the industry itself was broken, transformed from a system of honor and veneration into one of shame and denigration, which treated its products as little more than commodities to be bought and traded.” Then Instagram happened. “In the end, the solution was so straightforward. Celebrities simply became their own paparazzi.” – BuzzFeed

French Theatre’s Conflicts Are Starting To Fray The Humans On All Sides

This is bad. “From Bethune to Dijon, noted directors landed in the National Drama Centers – devoted to theatrical creation – thinking they were touching the Grail: a place and means to make their work exist on a large scale in the service of the greatest number. They discovered companies that were cumbersome to maneuver, using tools that were often obsolete or to renovate, and subsidies at half mast.” Now it’s all lawyers and consultants. – Le Monde

The Man Who Made “Cats” And What He Was Thinking

“Like all stories, it’s just about cats, but none of these stories work without the big issues underneath. Eliot was writing as much about humans as cats; he was writing about humans through a feline prism. Ultimately, why I wanted human cats, not actual cats, [in the film] was that, if they’d been actual cats, it would have totally missed the point of the duality of the poetry.” – The Atlantic