In his dialogue with reality—understood as an expansive living nature, and therefore never still before the artist’s pretensions—Pedro Abascal, who requires the road as much as the camera for his vital labor, has come to discover the possibility of drawing through the lens.
When I was a child, we lived in Santa Isabel, one of my grandfather’s farms. We were surrounded by trees, animals, and ravines. At that time, I did not know how to measure distance in kilometers...

It is generally understood that national museums ought to be the natural custodians of their cultural memory.
Spaces where the history of national art is presented in an ordered and intelligible form. Where foundational images can still be contemplated. Yet, primarily for reasons of funding, an increasing number of state institutions...

Perhaps since the beginning of time, yet within the landscape of contemporary visual culture, polemic, interpellation, and reply operate as devices of symbolic production that act directly upon the processes of meaning and the circulation of images. These controversies, or provocations—beyond merely situating themselves within a context that already shapes the imago—become structuring agents that reconfigure spaces of reading...

There are cities that return the gaze: they do not yield docilely to the frame, but rather address those who contemplate them. They demand a way of seeing that does not reduce, that does not foreclose. Havana, in this Dossier conceived by the Cuban photographer Pedro Abascal, appears as an entity that observes, folds, and tenses; it refuses to become a mere stage or backdrop.

I have known Pedro since 2004, perhaps even earlier, from the time I began attending the exhibitions held in the dozens of galleries and institutions of Old Havana. I do not remember how we became friends; it seems we were so before we had properly met. Pedro is one of the great Cuban photographers of the past decades. Some of his photographs would make Cartier-Bresson raise an eyebrow.

Edvard Munch was one of the most finely tuned loudspeakers of his time’s spirit—the Zeitgeist. Dostoyevsky had been one before him, and Kafka would be another later on. He belonged to that rare class of human beings God seems to have assembled in haste—leaving the skull half-finished, the sutures open, the nerves exposed—those daemons of History chosen to transmit its message to humanity.

Netflix aired the final episode of Stranger Things on December 31, 2025. It coincided with the closing of an unusual and demoralizing year. A masterstroke. We will remember forever the day the Upside Down arc was sealed, Vecna definitively defeated, and Eleven’s story brought to a close—at every level: her power, and her life in the physical realm...

R10 has invited me to collaborate on his project. I understood that, in order to be attuned to the spirit of this community—eager to find a certain pleasure seasoned with a Creole inflection—one had to think carefully when choosing the subject, and also when attempting to share observations that would neither sound grandiloquent, taste of formula, nor resemble verdicts issued by juries...

The British Museum has launched a campaign to secure the Tudor Heart, an ostentatious gold pendant linked to Henry VIII and Catherine of Aragon. Its aim is to prevent the object from falling into private hands and vanishing from public view.
Discovered in Warwickshire in 2019 by a metal-detecting enthusiast, the piece was automatically placed under the provisions of the Treasure Act of 1996...