1 files changed, 20 insertions, 2 deletions
diff --git a/frontend/site/projects/museum/views/essay.js b/frontend/site/projects/museum/views/essay.js
index ddfbfcb..5e98822 100644
--- a/frontend/site/projects/museum/views/essay.js
+++ b/frontend/site/projects/museum/views/essay.js
@@ -107,16 +107,34 @@ const EssayDetail = props => {
   switch (props.essayId) {
     case 'nadim':
       return <NadimEssay {...props} />
+    case 'statements':
+      return <ArtistStatements {...props} />
   }
 }
 
+const ArtistStatements = ({ essayId, index, isCurrent, onClose }) => (
+  <div className={isCurrent ? "artist-detail visible" : "artist-detail"}>
+    <div className="page-title" onClick={onClose}>ARTIST STATEMENTS</div>
+    <br /><br />
+    {ARTIST_ORDER.map((key, index) => {
+      const artist = ARTISTS[key]
+      return (
+        <div key={key} className={key}>
+          <div className="page-subtitle">{artist.name}</div>
+          <div className="page-content artist-statement" dangerouslySetInnerHTML={{ __html: artist.statement }} />
+        </div>
+      )
+    })}
+  </div>
+)
+
 const NadimEssay = ({ essayId, index, isCurrent, onClose }) => (
   <div className={isCurrent ? "artist-detail visible" : "artist-detail"}>
     <div className="page-title" onClick={onClose}>About The L<span>ast Museum</span></div>
     <div className="page-subtitle">By Nadim Samman</div>
     <div className="page-content">
       <p>
-        <i>The Last Museum</i> is an exhibition that explores productive tensions between the putative ‘anywhere’  of the digital and its relation to local particulars. Deploying a hybrid offline-online format, the project invites an international group of artists to reimagine site-specificity, through a sequence of interventions that cut across both real and virtual domains. The artists are Nora Al-Badri (Germany/Iraq), Juliana Cerqueira Leite (Brazil), Nicole Foreshew (Wiradjuri Nation/Australia), Jakrawal Nilthamrong (Thailand), Zohra Opoko (Ghana), and Charles Stankievech (Canada).
+        <i>The Last Museum</i> is an exhibition that explores productive tensions between the putative ‘anywhere’  of the digital and its relation to local particulars. Deploying a hybrid offline-online format, the project invites an international group of artists to reimagine site-specificity, through a sequence of interventions that cut across both real and virtual domains. The artists are <b>Nora Al-Badri</b> (Germany/Iraq), <b>Juliana Cerqueira Leite</b> (Brazil), <b>Nicole Foreshew</b> (Wiradjuri Nation/Australia), <b>Jakrawal Nilthamrong</b> (Thailand), <b>Zohra Opoko</b> (Ghana), and <b>Charles Stankievech</b> (Canada).
       </p>
       <ArtistGlobe />
       <p>
@@ -126,7 +144,7 @@ const NadimEssay = ({ essayId, index, isCurrent, onClose }) => (
         Each artist was commissioned to author a sculptural group, to be installed at an outdoor site of their own choosing. The choice was only limited by a request that it be associated with communication and connectivity. Final choices ended up highlighting both technical and more esoteric forms of transmission—and included a notorious hacker hangout (Berlin’s C-base), ancestral land in rural Australia, a down-at-heel electronics mall in downtown Sao Paolo, a neutrino observatory in the Rocky Mountains, and more.
       </p>
       <p>
-        Each sculptural intervention was videoed by the artists, and the resulting clips (from all over the world) were handed over to a digital artist, <a href="https://asdf.us/" target="_blank">Jules LaPlace</a>, who brought them together through a digital way-finding protocol; the exhibition’s ‘hang’. The public outcome, debuting as a pop-up window on the KW start page, is a website experience that unfolds as an interactive sequence of objects and places, navigable using bespoke tools. At times, these tools amount to additional (digital) artworks. Visitors will have a sense that that the exhibition is a wormhole, of sorts. 
+        Each sculptural intervention was videoed by the artists, and the resulting clips (from all over the world) were handed over to a digital artist, <a href="https://asdf.us/" className="jules-link" target="_blank">Jules LaPlace</a>, who brought them together through a digital way-finding protocol; the exhibition’s ‘hang’. The public outcome, debuting as a pop-up window on the KW start page, is a website experience that unfolds as an interactive sequence of objects and places, navigable using bespoke tools. At times, these tools amount to additional (digital) artworks. Visitors will have a sense that that the exhibition is a wormhole, of sorts. 
       </p>
       <p>
         Some of the featured locations are associated with infrastructure and the World Wide Web, others include waterways and climate. Uniting these seemingly disparate aspects, a conceptual leitmotif of visually <i>grounding</i> planetary networks and other globe-spanning systems will be evident. Call it a <i>web-site-specific</i> project—in the sense that both art and exhibition design re-imagines the stakes of ‘site-specificity’ for digital times. What this means is that <i>The Last Museum</i>’s ‘site’ is a layered reality or (to borrow a term from computational engineering) a ‘Stack’. Our exhibition-stack encompasses material facts on the ground, digital code, and softer site specificities—including those previously outlined by the art historian Miwon Kwon, such as ‘cultural debates, a theoretical concept, a historical condition, even particular formations of desire’. Each artwork in <i>The Last Museum</i> is a kind of a vector that intersects with all of the stack’s layers.