After seven years in the position and thirteen at the institution, Patrick Moore is stepping down as director of the Andy Warhol Museum in Pittsburgh–but perhaps not for as heated reasons as was first believed. While it was speculated as being driven by controversies surrounding recent decisions by the former director in relation to the museum, the president and CEO of Carnegie Museums, Steven Knapp, responded to ARTnews stating this was not the case.

In a letter to the editor, Knapp explained that Patrick Moore is choosing to step down due to a position offer in Spain, a choice corroborated in Moore’s own statement of choosing to live in the homeland of his husband. “My 13 years at The Warhol have been the most formative of my life,” Moore states, “and I’m so grateful for having been given this opportunity.”

Patrick Moore has been an impactful force for the Warhol Museum for over a decade. It was under his tenure that it expanded its operations beyond the locale of the late pop art icon’s hometown to a global scale. This expansion, however, also contains one of the multiple controversies of Moore’s decisions with the museum, having curated a show in Saudi Arabia. Moore was criticized for choosing to present in an authoritarian and homophobic state, a choice he staunchly defended in an ArtNet piece.

Another incident–one that is still underway–that has been indicative of Moore’s bumpy history at the museum is the Pop District Initiative. The Pop District is a $45 million “creative-economy workforce development project” by the Warhol Museum encompassing six blocks that surround the existent museum. Alongside a massive entertainment structure, it aims to turn the area of Pittsburgh’s eastern North Shore into a multi-purpose arts hub in the coming years. But this move has been deeply criticized within the museum by both employees and higher-ups, with several director-level members retiring since its announcement.

Despite the conflicting nature of Patrick Moore’s time in the position, there is seemingly no ill will between himself and Carnegie Museums, Moore having stated his intention to continue collaborating and supporting the institution from Spain. And while it’s uncertain how the contentious Pop District will progress without him helming it, it’s certain not to be the last we’ll hear of it.

Over the past year, we’ve come to a point in the arts and entertainment industry where the heavy hitters of the modern world are in dire straits. Both the video game and film industries have fallen on bleakly hard times for their workers, for the first time in a while bringing some real kinship with their estranged cousin—the theatre industry. But today, on World Theatre Day 2024, we revel in the fact that while consistently at odds with the industry framework around it, theatre is a nigh-invulnerable medium.

World Theatre Day 2024, as it has every year since 1962, is encapsulated by a message from a renowned theatre practitioner from across the globe. This year’s message is delivered by Jon Fosse of Norway, a playwright and writer who received the Nobel Prize in Literature in 2023. Second only to Henrik Ibsen for most produced Norwegian playwright, Fosse’s minimalist and lyrical style has spanned a long and active career, from his prose and poetry of the 80s to the biographical fiction of Melancholy and his first forays into theatre in the 90s, all the way up to present day where he is still creating new and impactful works.

“Art Is Peace,” states the emphatic title of Fosse’s message. “I know of no better way to bring opposites together. This is the exact reverse approach from that of the violent conflicts we see all too often in the world, which indulge the destructive temptation to annihilate anything foreign, anything unique and different, often by using the most inhuman inventions technology has put at our disposal. There is terrorism in the world. There is war. For people have an animalistic side, too, driven by the instinct to experience the other, the foreign, as a threat to one’s own existence rather than as a fascinating mystery.”

Theatre is one of our earliest art forms. It is one of the most connective forms of storytelling that exists at the core of so many other mediums. It is something primal and ethereal, and in having these qualities, it has the power to transcend danger. While the entirety of the theatre industry could fall, unlike with film or gaming or tech, theatre would still exist. This is the power we can revel in on World Theatre Day 2o24, and in a world wrought with conflict, Jon Fosse states its importance better than anyone.

“War and art are opposites, just as war and peace are opposites—it’s as simple as that.”

Click here to read the entirety of Jon Fosse’s message for World Theatre Day 2024.

Few groups are as easily recognizable as Pussy Riot. Clad in vibrant balaclavas, the Russian punk band and activist group has made a name for itself as an unflinching detractor of their country’s authoritarian state as well as fascism at large globally. With over a decade of feminist artistry and rebellion, it seems more than time for a retrospective on their stalwart work. And that is just what we’ll receive with the upcoming exhibition Velvet Terrorism: Pussy Riot’s Russia.

Hosted by The Polygon Gallery in Vancouver, Velvet Terrorism is the first of its kind for the art collective. It collects documentation of their activism from 2011 onwards and is set to display a dichotomy of the group’s actions against a backdrop of Russian officials’ reactions. The name for the exhibition itself comes from such a source—a quote from Putin’s spiritual advisor Bishop Tikhon Shevkunov referring to the actions of the feminist collective as “velvet terrorism.”

“Through videos, photographs, testimonies, song lyrics, and reflections,” explains The Polygon’s statement, “the exhibition offers a rich account of Pussy Riot’s non-violent actions, alongside the reactions of the Russian authorities to their provocations. In illustrating an increasingly hostile relationship between the group and the state authorities, the exhibition provides key insights into the evolution of Putin’s Russia over the past ten years, leading up to the military invasion of Ukraine.”

Velvet Terrorism is collected by group member Maria Alyokhina, one of the individuals who was sentenced to two years in a penal colony for their protest against Putin’s reelection. Having described her time in the group and her punishment through her novel Riot Days, she is giving resonant insight into one of the most notable activist and musical groups this century.

Velvet Terrorism opens March 22nd at The Polygon Gallery.