When Shanta Thake became Chief Artistic Officer at New York's Lincoln Center — home to the Metropolitan Opera, the New York Philharmonic and the New York City Ballet — she inherited one of the most storied platforms in global culture. But she also inherited its assumptions: about which art forms deserve the grandest stages, which audiences are welcome and where the boundaries of a great institution should end.
Georgina Godwin speaks with Shanta about the art and politics of curation at scale — and why the most urgent question facing the Lincoln Center right now isn't what to programme, but how to ensure that the work stays genuinely ahead of the world rather than just responsive to it. Shanta argues that artists are always ten steps ahead of the rest of us, and that a curator's job is less to follow the news than to trust the artists who are already living in tomorrow.
The conversation ranges from the collision of salsa and symphony to the Lincoln Center's Collider programme — a remarkable cohort of artists working at the frontier of technology and performance, from 4D sound compositions to art that generates new forms when two people hold hands and complete a human circuit. And it ends with a question we're all asking: in an age of AI and humanoid machines, what is it that makes art uniquely human — and how do we hold onto it?
","author_name":"Wondercast Studio"}