A group show in Amman presents works by Gaza-based artists responding to the war while exhibitions worldwide reflect Palestinian stories
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Discussions continue about reopening the Torlonia Museum in Rome, says foundation director
In this second part of our exclusive interview with Kamal Ahmed, the writer and director of the critically acclaimed mini-series Crash the System, we take a closer look at the creative vision behind the project. Ahmed opens up about the challenges and rewards of blending sharp social commentary with engaging storytelling, discussing how speculative elements—such as extraterrestrial beings and tech corruption—help amplify the show’s commentary on real-world issues.
He also reflects on how audience feedback shaped Season 2, his approach to navigating the fine line between provoking thought and provoking outrage, and the importance of staying open to creative risks. Ahmed’s insights provide valuable lessons for anyone seeking to step outside their artistic comfort zone.
What were the biggest challenges in writing and directing Crash the System, particularly given its satirical yet dramatic tone?
Honestly, there weren’t many challenges. The actors I work with are like-minded and deeply understand the themes. There’s rarely a need to over-explain. Everyone was aligned, which made the process smooth.
The show takes aim at a wide spectrum of societal issues. How do you strike a balance between entertaining your audience and delivering biting social commentary?
Entertainment comes first. I don’t try to preach or take sides. My goal is to show multiple perspectives—the good and the bad—and let the audience draw their own conclusions.
The series touches on themes like extraterrestrial beings and tech corruption. How do these speculative elements enhance the show’s commentary on real-world issues?
Speculative themes allow us to explore big questions: Are we alone in the universe? How does technology shape or control us? These ideas resonate because they’re already on people’s minds. By blending them with real-world issues, the show taps into collective curiosity and concerns.
How has audience feedback shaped the evolution of Crash the System from Season 1 to Season 2?
One consistent piece of feedback was about pacing. Some thought the episodes were too long, so I streamlined them for Season 2. Beyond that, I’ve stayed true to my vision.
Do you view Crash the System as a cautionary tale, or is it more of a mirror reflecting our current reality?
It’s both. The parallel Earth setting reflects our reality while warning against repeating certain mistakes.
Many artists struggle when shifting from one genre to another. What advice would you give to creators looking to step outside their comfort zones?
Growth comes from venturing into the unknown. If you try something new and it doesn’t feel right, you can always return to what you know. But stepping out of your lane can spark exciting discoveries.
Satire is a powerful tool for confronting uncomfortable truths. How do you navigate the line between provoking thought and provoking outrage?
It’s a fine line. The work invites audiences to think critically, but I never spell everything out or push an agenda. The characters and stories have multiple layers, leaving interpretation up to the viewer.
How does your creative process evolve when dealing with such varied mediums and genres, from comedy albums to dramatic mini-series?
Inspiration comes unexpectedly—a scene on the street, a memory, or even a random thought. Creativity is about staying open to those sparks and letting them guide you. When ideas slow down, you just wait until the next one arrives. Everyone has this potential within them.
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Interview organized by Kala Jerzy. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
The post Balancing Satire and Storytelling: Exclusive Interview with Kamal Ahmed on Crash the System, Creative Risks, and Season 2 Evolution | Part 2 appeared first on World Art News.
Move will kill off the art scene, say museum directors
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The founder of SpaceX commissioned the giant piece of cutlery art two years ago
The private passageway built by the Medici dynasty cost €11m to restore
2025 exhibition highlights at the Tate
A look at the major art exhibitions that Tate Britain and Tate Modern will present in 2025.
Source: Tate · Image: John Constable, “The White Horse”, 1819 · Frick Collection, New York
Tate Britain will begin the year with a solo exhibition dedicated to one of the most influential British artists of this generation, Ed Atkins. Later in the spring, two renowned modern artists – Edward Burra and Ithell Colquhoun – will each be the subject of solo exhibitions, giving visitors the chance to see the breadth of their vivid and enigmatic paintings. In the autumn, Turner & Constable will bring together Britain’s most famous artistic rivals, marking the 250th anniversary of their births. These two great artists vied for success through very different but equally bold approaches, transforming landscape painting in the process. This exhibition will be an unmissable chance to directly compare their spectacular works and see how their rivalry changed the course of British art. Alongside it, Lee Miller will be given the most extensive retrospective of her photography ever staged in the UK. A trailblazing surrealist and an acclaimed fashion and war photographer, Miller’s extraordinary career will be explored through 250 images, including some never previously displayed.
Tate Modern’s first exhibition of 2025 will focus on the boundary-pushing career of artist, performer, model, designer and musician Leigh Bowery. Later in the spring, Tate Modern’s unique spaces dedicated to performance, film and installation – The Tanks – will host the UK premiere of Hagay Dreaming. This acclaimed performance by new media artist Shu Lea Cheang and practicing shaman Dondon Hounwn combines dance and ritual with laser projections and motion-capture technology. In the summer, The Genesis Exhibition: Do Ho Suh will invite visitors into the captivating world of this Korean-born, London-based artist. It will then be joined by the first major exhibition of work by Emily Kam Kngwarray ever held in Europe. One of Australia’s greatest artists, Kngwarray was a senior Anmatyerr woman, a community from the Utopia region (north-east of Mparntwe/Alice Springs), whose paintings reflected her ritual, spiritual and ecological engagement with her homelands. In the autumn, Tate Modern will unveil a landmark group exhibition on Nigerian Modernism. The show will celebrate the artists who revolutionised modern art in Nigeria before and after national independence in 1960, combining African and European traditions to create new, multidisciplinary forms across painting, sculpture, textile, literature and poetry. This will coincide with an exhibition taking Picasso’s The Three Dancers as its focus, marking 100 years since this iconic painting was made. Foregrounding Picasso’s fascination with dance, sex and death, this deep dive will put a pivotal work of modern art in dialogue with its historic context and with contemporary dance. The final exhibition of the year will be a major photography exhibition about Global Pictorialism, the international movement which first transformed the camera into an artistic tool. Each season will also be marked by one of Tate Modern’s three high-profile annual commissions. The spring will feature the inaugural Infinities Commission, for which a selected artist will create an experimental and visionary new work for the Tanks. Over the summer school holidays, UNIQLO Tate Play will once again invite visitors of all ages to take part in a newly created artwork founded in participation. In the autumn the Hyundai Commission will see a world-renowned artist transform the Turbine Hall at the heart of Tate Modern with an ambitious new installation.
BY ALBERT CHEN
Two exquisite portraits by German-born artist Johann Joseph Zoffany (1733–1810) achieved remarkable success at Bonhams Old Master Paintings sale in London on December 4, 2024. The companion pieces, depicting a flower girl and a watercress girl, sold for $1.23 million—more than three times their original estimate of $366,000–$610,000. The auction at Bonhams’ New Bond Street location totaled over $2 million, with 97% of lots sold by value.
Lisa Greaves, Head of Bonhams’ Old Master Paintings Department, expressed her delight at the result. “It was no surprise that these exquisite works commanded significant interest,” she said. “Both portraits have been in a private family collection since the 19th century and are in remarkable condition. Zoffany’s skill as a portraitist is evident in the expressive detail and decorative richness of these paintings.”
Zoffany’s Artistic Legacy
Johann Zoffany was a prominent painter of portraits, conversation pieces, and theatrical scenes. Born in Germany, Zoffany’s early years at the court of Alexander Ferdinand, Prince von Thurn und Taxis, exposed him to classical education and courtly manners. After arriving in England around 1760, Zoffany’s career flourished thanks to the patronage of actor-manager David Garrick, who admired his ability to capture dramatic moments and intricate details. Queen Charlotte and King George III later became key patrons, securing his reputation and financial success.
Zoffany’s works now feature in major collections worldwide, including the National Gallery, Tate Gallery, and Royal Collection in the UK, as well as institutions across Europe, the U.S., India, and Australia.
The Watercress Girl: A Testament to Detail
One of the auctioned portraits, The Watercress Girl, was first exhibited at the Royal Academy of Arts in 1780. A contemporary reviewer praised Zoffany’s lifelike depiction, stating that the artist had “copied nature so exactly, that it is not easy to determine whether it is real life or painting.” The model for the portrait was a young girl named Jane Wallis.
The paintings were once owned by Jacob Wilkinson, a prominent MP and director of the East India Company. Wilkinson played a pivotal role in supporting Zoffany’s request to travel to India, a journey that expanded the artist’s repertoire. Wilkinson’s portrait by Zoffany is part of the collection at Chequers, the official secondary residence of the British Prime Minister.
Zoffany’s enduring appeal is evident in the enthusiasm surrounding this auction. The sale highlights the timeless allure of his meticulous craftsmanship and expressive portraiture.
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Story submitted by Bonhams. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
The post Two Portraits by Johann Zoffany Triple Their Estimate, Fetching Over $1.2 Million at Bonhams Auction appeared first on World Art News.
Joo had joined the museum in 2017 as its first contemporary art curator and most recently organised an ambitious project by Kara Walker