A Quote by Munira Mirza

Throughout history, cities have been associated with incredible bursts of creative energy - the Renaissance in Florence, or modernism in Paris. London is the cultural metropolis of the early 21st century.
Most cities have a centre surrounded by suburbs, but London has numerous centres: it's the model of a twenty-first century metropolis.
The 19th century was a century of empires, the 20th century was a century of nation states. The 21st century will be a century of cities.
There was once a time when art history and film were basically the same medium, but art history is frozen in late-19th-century technology that has survived into the early 21st century.
Think of Florence, Paris, London, New York. Nobody visiting them for the first time is a stranger because he's already visited them in paintings, novels, history books and films. But if a city hasn't been used by an artist, not even the inhabitants live there imaginatively.
The 19th century was the century of empires, the 20th was the century of nation states, and the 21st is the century of cities and mayors.
Long commutes and traffic jams once associated with older, established cities such as London, New York or Tokyo are spreading throughout the world's emerging economies.
One of the most persistent cultural tics of the early 21st century is Americans' reluctance to absorb, let alone prepare for, bad news.
I have been interested in the 12th century since my 20s when it was very fashionable to say of anybody with whom you disagreed, which was basically anybody over the age of 30, "One of the great minds of the 12th century", and one day I thought, "I don't know anything about the 12 century." So I started buying books, reading about it, and I discovered it was a period of great flowering, it was a Renaissance before what we think is the Renaissance, the Italian Renaissance of the 16th century.
The 20th century is a period defined by cultural and artistic movements. However, the 21st century creative-scape that we occupy now doesn't really have movements in the same way. Instead it's made up of diverse individuals working across various platforms simultaneously; art, architecture, film, music and literature.
Throughout the European Middle Ages and Renaissance, Latin was the language of learning and international communication. But in the early modern period, it was gradually displaced by French. By the eighteenth century, all the world - or at least all of Europe - aspired to be Parisian.
Los Angeles is one of the four cultural capitals of the world, but we don't attract as many cultural tourists as New York, London or Paris. I want to change that.
Russia, at the start of the 21st century, at least in its larger cities, very much resembled the United States of the early 1990s: being gay was no longer criminal or shameful, but it was still not a topic for polite conversation or public discussion.
There is a fascination with violence and power in all modernism, and I sort of saw classic modernism as being more similar to Wyndham Lewis than to the Renaissance. It's not about flow and the presence of humanism and all those things.
When I first started coming to New York in the early Nineties and seeing the vitality of the programme compared to what was going on back in London or Paris, it was just in a different league. It's like a 16th-century court.
What's interesting about the 21st century is how people deal with cultural history. We don't necessarily feel like there are discrete categories. We consume it as a complete package, whether it's down the street or on the other side of the globe.
The main problem with cultural appropriation comes from dominant groups 'borrowing' from marginalized groups who face oppression or have been stigmatized for their cultural practices throughout history.
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