Luca Veggetti is not a brand-name choreographer in the United States, though he’s been creating works for European and Russian companies for nearly two decades. He had a stateside coming out of sorts in 2007, when three of his dances were showcased as part of the Works & Process series at the Guggenheim, and last year he directed and choreographed a multimedia performance of Greek composer Iannis Xenakis’ opera, Oresteia, at Columbia University’s Miller Theatre. Read More »

When we learned that the Guggenheim was launching a new contemporary art series called Intervals, which would feature the work of emerging artists in a museum setting, we cheered. It’s not often that major institutions have the chutzpah or the real estate to give up-and-comers a much-needed moment in the spotlight. When we learned that their inaugural exhibition would feature the work of Julieta Aranda, a Brooklyn-based multimedia artist whose collaborative project PAWNSHOP (a spot where artists could pawn their works) caught our attention back in 2007, we were even more excited. Read More »

“Two amazing things happened to me while working on this project,” explains Hugo Boss Prize winning-artist Emily Jacir, whose deeply political installations Material for a film (performance) and In Material for a film — both inspired by the assassination of Palestinian intellectual Wael Zuaiter — will be on view at the Guggenheim Museum starting this Friday. “The first thing was that Wael introduced me to Alberto Moravia and I have since read many of his writings including The Woman of Rome, The Conformist, The Conjugal Love, and Boredom. The second was that Wael introduced me to the music of Gustav Mahler whom he was obsessed with. I was in Ramallah when I heard Symphony No. 9 which was Wael’s favorite, for the first time and I will never forget that experience. There are no words to describe the profound impact that symphony has on me.”

Read on for more of our conversation with the controversy-causing artist after the jump.

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