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The best storyteller has the power, according to British filmmaker Adam Curtis. In his new BBC documentary Bitter Lake (2015) he montages archival material from seven decades of failed Afghan politics and explains why the West has lost faith in its own narratives.
Whether calling himself “The Friendliest Black Artist in America”, eating the Wall Street Journal piece by piece, or crawling up the entirety of New York’s Broadway, the American artist William Pope.L applies pressure in exactly those places where race and capitalism meet in the American unconscious. Adrienne Edwards writes on Pope.L‘s strategies of abjection, precarity, and play.
