Sky Yang is an actor and filmmaker based in London. He joins Claire Ducharme to discuss the creative process behind creating ‘Sunny', a short film featured in Act 2 of COVID-26: Bad Bias in the Body, hosted at The Horse Hospital earlier this year. Trained as an actor and working primarily on-screen, ‘Sunny’ marked his move into filmmaking, and he reflects on his experience as an East Asian actor working across British and American productions.

Ming Chin Hsieh is a dance artist originally from Taipei, Taiwan, now based in London, trained in ballet, contemporary dance, and martial arts Taichi. She opened COVID-26: Bad Bias in the Body with Act 1, The Weight of a Word. Hsieh reflects on how she came to open the event, and discusses the process of developing this contemporary dance performance in response to experiences of anti-Asian racism during the pandemic.

Jihun Park and Haerin Kim are co-directors of Bad Bias, a London-based organization producing multidisciplinary events centred on diverse East and Southeast Asian arts and culture. They organized COVID-26: Bad Bias in the Body to create in a safe and creative space for East and Southeast Asian artists and audiences to revisit experiences of racism during the pandemic. Bringing together movement, film and live sound performance, the programme unfolded through 3 acts. Kim and Park talk about the inspiration behind this event and invite audiences to revisit it.

For TANK, writer Anton Jäger discussed his book Hyperpolitics, a theory of how political action in the modern age has been hollowed out without reinstitutionalisation. From mass movements like Black Lives Matter to the growing power of the British far-right, Jäger outlines how avenues for collective action are increasingly closed off — a world in which people are more politically activated than ever, yet less capable of producing durable change.

Caroline Issa reads from the 2026 Summer Reader editor's letter, which discusses the displacement of global power within recent years, from the insidious movement of the tech moguls into the arts to the manufactured Zionist bias against Palestine in mainstream media.

The morning after Genuine Fake Premium Economy opened at the ICA, TANK's assistant editor Matteo Pini sat down with artists Jenna Bliss, Jasmine Gregory, and Buck Ellison to explore how the long shadow of the 2008 financial crisis haunts their work. From Ellison's material catalogues of imagined finance bros to Gregory's doctored Patek Philippe advertisements, the artists discuss how the aesthetics of wealth management and economic precarity have become embedded in contemporary visual practice.

The historian Faisal Devji traces the root causes of the endless wars in Western Asia. From Palestine to Tehran, borders crumble and a deficit of sovereignty in the Arab world is destabilising the world economy and reshaping its map.

Shohei Shigematsu is an architect and partner at the architectural firm OMA’s New York office. Working across the intersections of architecture, fashion and art, he has helmed OMA’s projects in the Americas for over a decade, most recently overseeing the expansion of New York’s New Museum. With TANK, he discussed museums, interdisciplinary design, and the purposes of civic space.

For TANK, economist Ann Pettifor breaks down the theory underpinning her new book, The Global Casino: How Wall Street Gambles with People and the Planet, and reveals how we may all be embroiled in a giant gambling ring.

At Art Week Tokyo (AWT), artists assemble to interrogate the meaning of realism in the “post-truth” age. Shuttled from museum to gallery on AWT’s neon-green buses, Thomas Roueché reports on the dialogues taking place between art, politics and history across Japan’s capital.