Cabinet

Cabinet This is the home of Cabinet, a quarterly non-profit cultural magazine based in Brooklyn.

Will Ozempic finish off the American buffet once and for all? In our latest Ingestion column, Thea Applebaum Licht remem...
08/27/2026

Will Ozempic finish off the American buffet once and for all? In our latest Ingestion column, Thea Applebaum Licht remembers the rise of the “smorgy” and finds an unexpected parallel to its variety, temptation, and excess in the semaglutide era. Link in bio and below.

“Though now the English byword for variety itself, smörgåsbord (“butter board”) still meant something distinctly culinary in the United States in the middle of the twentieth century. Sometimes, it referred to the traditional appetizer array of hot and cold Swedish dishes, pickled herring, and aquavit found in New York restaurants and Minnesota community halls. Usually, however, it signified not a specific cuisine but a mode of feasting: a long table laden with towers of dishes, and a line of diners snaking past, returning to fill their plates again and again. The history of the all-you-can-eat buffet is in part the story of how the smorgasbord shed its cultural specificity and became part of the great American experiment in indulgence.

That history has advanced circuitously, however. Every few years, those eager American diners have been warned of the all-you-can-eat experience’s imminent demise. This time, the endless buffet—and with it the restaurant industry at large—is said to be flagging in the face of Ozempic, manufactured by the Danish company Novo Nordisk. Will one Scandinavian export finally lay another to rest? As restaurants draft “Ozempic menus,” seeking the key to the semaglutide palate, the answer appears to be: not yet. In fact, the food industry’s response to new appetite-dampening drugs seems to echo the buffet’s carnivalesque suspension of dining conventions. In buffets and Ozempic menus, sampling menus and share plates, the same hope emerges: to circumvent satiety. But so too do the same anxieties, the same guilts and thrills, the same moralizing tensions between seeking pleasure and wielding self-restraint. . . .”

https://cabinetmagazine.org/issues/71/licht.php

07/30/2026

Thanks so much to everyone who came out to on Sunday for “Hurry, 591 BC–2007”, a musical made in ten hours flat. For those who missed it, here’s a little sample, which we assume will be rather self-explanatory.

But thank you most of all to our fantastically talented performers:



hurtzig





Stay tuned for our next Cabinet musical event: a 24-hour performance dedicated to the railway timetables of Saxony-Anhalt!

Tomorrow, a team of writers, musicians, and artists will gather at 10 am in Berlin to attempt to make a musical in ten h...
07/23/2026

Tomorrow, a team of writers, musicians, and artists will gather at 10 am in Berlin to attempt to make a musical in ten hours flat.

Their aim will be to investigate the plausibility of taking “Hurry, 591 BC–2007,” a title from the Webster’s Timeline Histories series, as the subject matter and sole research tool for a creative endeavor.

The one-time-only performance tomorrow evening — 8 pm Lettrétage (doors 7:45) — will present a history of “hurry” made in a hurry. A few tickets are still available. Link in bio and below.

In the meantime, let us hurriedly introduce you to our cast!

https://www.cabinetmagazine.org/events/oreilly_downes_katchadourian_hurry.php

Kit Downes is an ECM recording artist, composer, and performer based in Berlin. Winner of the BBC Jazz Award and the Deutscher Jazzpreis, he has toured the world playing piano and church organ with leading artists from the classical and jazz idioms.

Myra Eetgerink is a multifaceted performer and maker. After studying physical theater at École internationale de théâtre Jacques Lecoq in Paris, she trained in contemporary dance in France, Belgium, and later in Berlin, where she is based. She has acted and danced in several German and international film and television projects and is currently making her own work, which incorporates dance, theater, and elements of contemporary circus.

Fernanda Farah’s practice spans contemporary and experimental music, theater, performance, and dance, with a particular focus on language and voice in relation to the body. She collaborates frequently with Dorky Park dance company, was artist-in-residence at Art Omi: Music (Ghent, New York) and at Q21, MuseumsQuartier (Vienna), and co-curates the experimental music and performance series “Labor Sonor” at Kunsthaus KuLe (Berlin).

Hannah Hurtzig founded the Mobile Akademie Berlin (MAB) in 1999, which has since then produced experimental academy models, architectures of knowledge and non-knowledge, essayistic installations and performances, and analog and digital archive units. The MAB’s best-known format is the Market for Useful Knowledge and Non-Knowledge, which has been performed over thirty times internationally since 200

Berlin readers! Cabinet will have a table at Miss Read on Friday, Saturday, and Sunday. Come and say hello, buy a book, ...
06/25/2026

Berlin readers! Cabinet will have a table at Miss Read on Friday, Saturday, and Sunday. Come and say hello, buy a book, confess your fears about the heat wave, dog-ear an issue, tut-tut about nothing in particular, or offer us unsolicited feedback on our exacting editorial standards—it’s all possible. Looking forward to seeing you. Pictured: isabella mochino, last summer’s editorial assistant, minding the booth at HKW.

As bombs fall again on the people of Iran, Shahram Khosravi examines what it means for the defeated of the earth to face...
03/06/2026

As bombs fall again on the people of Iran, Shahram Khosravi examines what it means for the defeated of the earth to face their serial losses with “an open face,” as counseled by his late father. What does it mean to understand defeat not as the end of critique but as its ethical point of departure, not as the end of struggle but its very condition?

“My father, a son of the Bakhtiari—the Indigenous people of the Zagros Mountains in Iran—could sense it long before it arrived: defeat. Or perhaps it never arrived at all, because it had always been there, woven into the soil and the air. Like his ancestors, he watched as their land, and the future promised by it, were stripped away. It was the Bakhtiaris’ misfortune that French and British expeditions, wandering through their mountains in the late nineteenth century, found oil shimmering beneath their feet. ...

One of the few things of my father that remains with me is a letter he sent in late 1987, while I was crossing borders—one after another, illegally—trying to outrun the Iran-Iraq War. It is hardly a letter; more a brief warning. The last two sentences read:

‘Life, in general, is about defeat. Learn to face your defeats with an open face.’

But how does one prepare for a defeat not yet arrived? For people like him—whose land, whose name, whose time have been taken—defeat is no stranger. It arrives like a season. It is expected. He, an Indigenous man, wanted to ready me, an undocumented migrant, for the rhythm of loss that returns, again and again, through generations. Another defeat is on its way. Learn to meet it with an open face.”

Link in bio and below.

Is Israel’s Channel 14 — home to some of the most violent rhetoric demonizing Palestinians — guilty of “incitement to ge...
02/27/2026

Is Israel’s Channel 14 — home to some of the most violent rhetoric demonizing Palestinians — guilty of “incitement to genocide,” a crime recognized in both Israeli and international law? In May 2025, Michael Sfard, one of Israel’s foremost human rights lawyers, filed a momentous petition with the country’s High Court on behalf of three Israeli organizations. The petition’s goal was to force the state to investigate whether statements made on Channel 14 reached the threshold of systematic incitement to genocide.

In our wide-ranging conversation with Sfard, we discuss the rise of Channel 14 and its history, the broader role that the media has played in inciting and abetting genocide, and the legal codification of genocide in the ruinous aftermath of World War II.

“There were cases in the past that undermined our sense of norms; I’m thinking of Abu Ghraib, Guantánamo Bay, and the extraordinary renditions. There were notable, egregious cases, but they were seen as aberrations. Not by everyone, but by most commentators. … But what we’re seeing now is something completely different. I’m still in a position where I … believe that the UN charter and the international laws governing human rights and international humanitarian law are … the closest to what the sacred can be for a secular person.

These are insights and principles that we as a species have slowly, painstakingly evolved at the conclusion of thousands of years of civilization and mainly of atrocities — of suffering. We’ve reached these understandings with blood. We’ve created this system, which though not perfect is nonetheless optimistic and humanistic. And to crush this remarkable, shared guiding ethos now — well, I don’t know how we could overcome such a loss.”

Link in bio and below:

cabinetmagazine.org/71/najafi_prochnik_sfard.php

albanese.unsr.opt

In May 2025, Michael Sfard—one of Israel's foremost human rights lawyers—filed a momentous petition with the country's H...
02/19/2026

In May 2025, Michael Sfard—one of Israel's foremost human rights lawyers—filed a momentous petition with the country's High Court on behalf of three Israeli organizations. The filing asked the court to require the attorney general, the state attorney, and the police to explain why they had not replied to an earlier letter he had filed requesting an investigation into whether repeated statements by hosts and guests on Israel's Channel 14 amounted to a systematic incitement to genocide—a crime in both international and Israeli law—as well incitement to violence and incitement to racism.

In our wide-ranging conversation with Sfard, published today, we discuss Channel 14 and its history, the broader role that the media has played in inciting and abetting genocide, and the legal codification of genocide, and incitement to it, as crimes in the ruinous aftermath of World War II.

Link in bio and below:

cabinetmagazine.org/71/najafi_prochnik_sfard.php

“To the Spanish conquistadors, the behavior of the strangely lively objects used by the Aztec and the Maya to play their...
01/16/2026

“To the Spanish conquistadors, the behavior of the strangely lively objects used by the Aztec and the Maya to play their ritual ball game was magical. Early accounts reflect the onlookers’ amazement. Pedro Mártir de Anghiera, royal historian to Emperor Charles V and first European historian of the Americas, declared: “I don’t understand how when the balls hit the ground they are sent into the air with such incredible bounce.” Bernardino de Sahagún remarked that beyond the amazing dynamic capacities of the object, its “aural qualities were astonishing” as well. Diego Durán wrote: “Jumping and bouncing are its qualities, upward and downward, to and fro. It can exhaust the pursuer running after it before he can catch up with it.”

For Mesoamerican societies, rubber was etymologically bound up with its extraction form—and with the body, power, pain, and magic. The indigenous names—which translate as “blood,” “tears of the tree,” “milk of tree”—figure rubber as a bodily fluid, one that requires some rip in the body’s skin or psyche before it can pour forth. As well as using it to make balls for their ritual games, these societies burned it as incense, used it for waterproofing and hafting weapons, and, in its liquid form, to mark the bodies of those about to be sacrificed to the gods. For the Aztec, it was a tribute material, demanded as payment from conquered peoples. But the conquistadors had arrived with a clear idea of what materials they wanted to amass: silver, gold, and other precious metals. In their scheme of things, rubber was neither sacred nor especially economically valuable, and ball games were not the kind of activity that warranted serious cultural representation. In Europe, sport was not sport as we know it, quite yet.”

We are excited for the publication of Carlin Wing’s new book, “Bounce: Balls, Walls, and Bodies in Games and Play,” next week. In the meantime, you can read her article, “Episodes in the Life of Bounce,” from issue 56. Link in bio and below.

https://www.cabinetmagazine.org/issues/56/wing.php


In our latest article, “Subdivided Memory: Sinti and Roma in German Erinnerungskultur,” Sanders Issac Bernstein investig...
01/08/2026

In our latest article, “Subdivided Memory: Sinti and Roma in German Erinnerungskultur,” Sanders Issac Bernstein investigates the construction threats to Berlin’s Memorial to the Sinti and Roma of Europe Murdered under National Socialism and the long struggle by Sinti and Roma for public recognition of what was done to them by the German state. Link in bio and below.

“And yet, as I wait to watch the daily exchange of flowers, I must admit that I am not contemplating the persecution carried out by the German state between 1933 and 1945—detailed on the frosted panels of the memorial’s front wall. I am not thinking of the personal narratives I’ve read—of Hermann Herzberg, trader of horses and father to eleven, killed at the Bialystok Ghetto in 1941, or his ten murdered children, or his wife Luise, who contracted tuberculosis at Ravensbrück and died from the disease in 1953, leaving her son, Otto, wholly without a family. I am not thinking about Waldemar Winter, who survived Auschwitz, medical experiments at Natzweiler, and forced labor at Dachau and Neuengamme, before dying just after the war’s end due to the abuse he had suffered at the hands of the N***s. I am not thinking about Gretel, a quiet, happy, and beloved child whose mother called her Mutti, and who at four years and three months was marched into the gas chamber with her grandparents. Instead, as I watch the blossoms slowly lower, I find myself thinking not of the past but of the future. I contemplate the dark hollow of the triangle at the center of the pool’s dark waters, its core lost to an invisible underworld, and I can only think of the regional rail extension that the Berlin Senate recently approved, which threatens to turn this memorial into a construction site.”

www.cabinetmagazine.org/71/bernstein.php

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