CESURALAB

SUMMER 2010
SPRING 2010
WINTER 2009
AUTUMN 2009
SUMMER 2009
SPRING 2009
WINTER 2008
AUTUMN 2008
SUMMER 2008
SPRING 2008
Fanzine #2
LUZPHOTO
PORTFOLIO'S SUBMISSIONS
WORKSHOP POSTPONED
ATRI FESTIVAL
MASTERCLASS WITH ALEX MAJOLI
GOMORRAH GIRLS EXHIBITION
PHOTOLUCIDA
PHOTOGRAPHERS' ROOM
PROJECTION
CESURALAB EXHIBITION
DIMENSIONE MASSIMA 10X12 CM
THE FAMILIES ALBUM EXHIBITION
WINE PHOTO AWARD
WORLD PRESS PHOTO AWARD
CESURALAB & YOOX
ANDY ON 7.7 MAGAZINE
NEW MEMBER
Canon award 2009
Riccardo Pezza Award
PDN'S 30 2010
OLAF / RECENT WORKS
WAR IS OVER!
ASSIGNMENT ESPRESSO
GOOSSENS
CESURALAB IN ARLES
END OF PAPER?
OPENING IN MILAN
ALEC SOTH
LABELS
ACCESS TO LIFE
PIXEL LIKE CUPCAKES
MOCA, LOS ANGELES
THAI PROTESTERS
HERESIES
MASTERCLASS
SCHMUTZER 1894/1928
THE PARK
LOAN NGUYEN

MOCA, LOS ANGELES


MOCA, LOS ANGELES By Roberta Smith
The New York Times

The first thing to be said about the fiscal crisis facing the Museum of Contemporary Art in Los Angeles, horrendous as it is, is that it could be a lot worse. The museum regularly overran its budget and dipped into its endowment to cover operating costs, which is scandalously irresponsible.
But let’s keep some perspective. The museum needs to raise roughly $25 million and embrace a new strategy to stabilize itself. And it

can do it.
This institution has to be born again, wrestled into a new phase of its marvelous history by the people who brought it into being in the first place, with help from the rest of the art world.
But first there needs to be a truce. Both the siege and the bunker mentality must be suspended. People have to set aside their rage at one another and at outside critics. They should stop fretting about their reputations or grudges. Egos have to be left at the door.
Imagine the museum as a gravely ill relative deeply loved by an enormous squabbling family. Does that family really want to come together for the first time at the funeral, especially knowing that the patient could, with cooler heads, have been saved? No. Let’s come together right now. The director of the museum, Jeremy Strick, has to have support and input from

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