Pedro Reyes
Exhibition views of ‘Pedro Reyes’ at Lisson, Gallery New York, 11 September – 18 October 2025 © Pedro Reyes, Courtesy Lisson Gallery
Lisson Gallery is pleased to present a solo exhibition of new work by acclaimed artist Pedro Reyes, marking a significant evolution in his sculptural practice. Bringing together monumental stone works and, for the first time, a suite of wall-based mosaics, the exhibition transforms the gallery into a sculptural forest—a landscape of myth, material, and movement.
Pedro Reyes Citlallo, 2025 Mosaic 46.4 x 29.2 x 3.8 cm 18 1/4 x 11 1/2 x 1 1/2 in © Pedro Reyes, Courtesy Lisson Gallery
Rooted in Mesoamerican cosmology, Reyes’ formal syntax draws deeply from his own heritage. His forms echo the traditions of Mexica and Olmec carving, reinterpreted through a contemporary lens that also recalls the synthesis of Art Deco and modern abstraction. By weaving together these distinct visual territories, Reyes explores how sculpture can serve as a vessel of memory, a bridge between the ancient and the contemporary, and a medium for cultural resilience and renewal.
Exhibition views of ‘Pedro Reyes’ at Lisson, Gallery New York, 11 September – 18 October 2025 © Pedro Reyes, Courtesy Lisson Gallery
Alongside his distinctively abstract, totemic sculptural forms, a new series of evocative animal figures—jaguar, coyote, monkey, and axolotl—emerge, each rendered with a restrained precision that bridges ancient symbolism and a contemporary visual language. This synthesis is particularly evident in Coyotl (2025), where the sharp, geometric lines along the figure’s neck and tail reflect both formal clarity and cultural resonance. The work pays homage to Coyoacán—meaning “the place of the coyotes” in Nahuatl—the Mexico City neighborhood where Reyes has his home and studio. As the artist notes, “Often described as a creature between a dog and a wolf, the coyote plays the role of a trickster spirit in pre-Columbian mythology. It also serves as a symbol of earthly wisdom because of its astute nature.”
Pedro Reyes Tepantitla, 2025 Volcanic stone 250 x 98 x 62.5 cm 98 3/8 x 38 5/8 x 24 5/8 in © Pedro Reyes, Courtesy Lisson Gallery
At the heart of the exhibition is a newly developed body of stone mosaics. Smaller in scale and intricately composed, these works introduce a refined and rhythmic counterpoint to the larger stone sculptures. Composed of tesserae made from volcanic stone, marble, glass, silver, and gold, the mosaics radiate with vibrant color and material richness, underscoring their importance as conceptual anchors within the exhibition. Reyes’ mosaics act as portals—offering moments of reflection and pause within the broader sculptural landscape. This new direction in his practice brings heightened attention to pattern, detail, and material intimacy while maintaining the thematic depth that defines his work.
The exhibition also encourages spatial navigation and sensory engagement. As visitors move through the space, the artworks shift in form and meaning, offering changing perspectives and intimate encounters with surface, scale, and silhouette. Rather than isolated displays, the sculptures inhabit a shared environment, inviting viewers into a tactile, narrative-rich journey.
Pedro Reyes Cozamalotl, 2025 Mosaic 46.4 x 29.2 x 3.8 cm 18 1/4 x 11 1/2 x 1 1/2 in © Pedro Reyes, Courtesy Lisson Gallery
Whether monumental or intimate, animal or abstract, Reyes’ forms resonate with symbolic weight and formal clarity, inviting viewers into a space where the boundaries between past and present, myth and matter, are fluid and alive.
About the artist
Pedro Reyes has won international attention for large-scale projects that address current social and political issues. Through a varied practice utilising sculpture, performance, video, and activism, Reyes explores the power of individual and collective organisation to incite change through communication, creativity, happiness, and humour. A socio-political critique of contemporary gun culture is addressed in Reyes’ ongoing Palas por Pistolas, in which the artist worked with local authorities in Culiacán, Mexico, to melt down guns into shovels, then used to plant trees in cities elsewhere in the world. Similarly, in Reyes’ major continuing Disarm series, firearms confiscated by the Mexican government and donated to Reyes have been transformed into instruments, which are then activated by local musicians. Issues of community and compassion are addressed in Sanatorium, activated at the Solomon R. Guggenheim Museum in New York (2011), dOCUMENTA 13, Kassel, Germany (2012), The Whitechapel Art Gallery, London (2013) and at The Power Plant in Toronto and The Institute of Contemporary Art in Miami (2014).
Reyes (b. 1972, Mexico City) lives and works in Mexico City. He studied architecture at the Ibero-American University in Mexico City. Solo exhibitions have been held with Museo Anahuacalli, Mexico City, Mexico (2024); SITE Santa Fe, NM, USA (2023); MARTa Herford, Herford, Germany (2022); MARCO, Monterrey, Mexico (2022); MAAT, Lisbon, Portugal (2021); Museum Tinguely, Basel, Switzerland (2020); SCAD, Georgia, USA (2019); Creative Time, New York, USA (2016); Dallas Contemporary, TX, USA (2016); La Tallera, Cuernavaca, Mexico (2016); Hammer Museum, Los Angeles, CA, USA (2015); ICA, Miami, FL, USA (2014); The Power Plant, Toronto, Canada (2014); Walker Art Center, Minneapolis, MN, USA (2011); Guggenheim Museum, New York, NY, USA (2011); CCA Kitakyushu, Japan (2009); Bass Museum, Miami, FL, USA (2008;) and San Francisco Art Institute, CA, USA (2008). Reyes has participated in group exhibitions at the The Museum of Modern Art, Mexico City, Mexico (2023); Museo Jumex, Mexico City, Mexico (2021); the Brooklyn Museum of Art, New York, NY, USA (2018); the 21st Century Museum of Contemporary Art, Kanazawa, Japan (2015); The National Museum of XXI Century Arts (MAXXI), Rome (2015); Beijing Biennale, China (2014); Whitechapel Gallery, London, UK (2013); dOCUMENTA (13), Kassel, Germany (2012); Liverpool Biennial, UK (2012); Gwangju Biennial, South Korea (2012); Lyon Biennale, France (2009); and the 50th Venice Biennale, Italy (2003). In Fall 2016, Reyes served as the inaugural Dasha Zhukova Distinguished Visiting Artist at MIT Center for Art, Science & Technology (CAST) at Massachusetts Institute of Technology in Cambridge, Massachusetts.
About Lisson Gallery
Lisson Gallery is one of the most influential and longest-running international contemporary art galleries in the world. Today the gallery supports and promotes the work of more than 60 international artists across spaces in London, New York, Los Angeles, Shanghai and Beijing. Established in1967 by Nicholas Logsdail, Lisson Gallery pioneered the early careers of important Minimal and Conceptual artists, such as Art & Language, Carl Andre, Daniel Buren, Donald Judd, John Latham, Sol LeWitt, Richard Long and Robert Ryman among many others. It still works with many of these artists as well as others of that generation from Carmen Herrera to the renowned estate of Leon Polk Smith. In its second decade the gallery introduced significant British sculptors to the public for the first time, including Tony Cragg, Richard Deacon, Anish Kapoor, Shirazeh Houshiary and Julian Opie. Since 2000, the gallery has gone on to represent many more leading international artists such as Marina Abramović, Ai Weiwei, John Akomfrah, Susan Hiller, Tatsuo Miyajima and Sean Scully. It is also responsible for raising the international profile of a younger generation of artists led by Cory Arcangel, Ryan Gander, Van Hanos, Hugh Hayden, Haroon Mirza, Laure Prouvost, Pedro Reyes, Wael Shawky and Cheyney Thompson.
The exhibition opened on 11 September and will run through 18 October 2025 at the 504 West 24th Street location.
For more information about this exhibition and others, please visit the Lisson Gallery here. The gallery can also be found on Facebook, YouTube, and Instagram.
In No Particular Order
In No Particular Order 125 Newbury 395 Broadway, New York, NY 10013 August 5 – 14, 2025 Photography courtesy Pace Gallery
New York – Pace showcased the exhibtion In No Particular Order, an exhibition of over 50 works created by its international staff members from August 5 to 14 at 125 Newbury, a project space in New York helmed by Pace Founder and Chairman Arne Glimcher. Featuring paintings, sculptures, photographs, drawings, prints, and films that reflect the creativity and imagination of Pace’s teams across New York, Los Angeles, London, and Seoul, this edition of the staff show coincides with the gallery’s 65th anniversary, during which it is celebrating its enduring commitment to supporting artists.
This globally minded exhibition—organized by the gallery’s Culture & Equity team—will bring together the artistic practices of over 50 individuals living and working in the US, Europe, and Asia. Together, these artworks can be understood as a portrait of the gallery’s international community.
This presentation continues a tradition of Pace staff exhibitions that goes back some 25 years in the gallery’s history. Through its staff shows, Pace spotlights the artistic talents and diverse perspectives of its team members around the globe.
In No Particular Order 125 Newbury 395 Broadway, New York, NY 10013 August 5 – 14, 2025 Photography courtesy Pace Gallery
Learn more about Pace’s Culture & Equity program. Please visit here.
Pace is a leading international art gallery representing some of the most influential artists and estates of the 20th and 21st centuries, founded by Arne Glimcher in 1960. Holding decades-long relationships with Alexander Calder, Jean Dubuffet, Agnes Martin, Louise Nevelson, and Mark Rothko, Pace has a unique history that can be traced to its early support of artists central to the Abstract Expressionist and Light and Space movements. Now in its seventh decade, the gallery continues to nurture its longstanding relationships with its legacy artists and estates while also making an investment in the careers of contemporary artists, including Torkwase Dyson, Loie Hollowell, Robert Nava, Adam Pendleton, and Marina Perez Simão.
Jay Maldonado, Echo,May 12, 2025 PHOTO photo1 1" ×14" (27.9 cm ×35.6 cm) © Jay Maldonado
Under the current leadership of CEO Marc Glimcher and President Samanthe Rubell, Pace has established itself as a collaborative force in the art world, partnering with other galleries and nonprofit organizations around the world in recent years. The gallery advances its mission to support its artists and share their visionary work with audiences and collectors around the world through a robust global program anchored by its exhibitions of both 20th century and contemporary art and scholarly projects from its imprint Pace Publishing, which produces books introducing new voices to the art historicalFor immediate release canon. This artist-first ethos also extends to public installations, philanthropic events, performances, and other interdisciplinary programming presented by Pace.
Today, Pace has nine locations worldwide, including two galleries in New York—its eight-story headquarters at 540 West 25th Street and an adjacent 8,000-square-foot exhibition space at 510 West 25th Street. The gallery’s history in the New York art world dates to 1963, when it opened its first space in the city on East 57th Street. A champion of Light and Space artists, Pace has also been active in California for some 60 years, opening its West Coast flagship in Los Angeles in 2022. It maintains European footholds in London and Geneva as well as Berlin, where it established an office in 2023 and a gallery space in 2025. Pace was one of the first international galleries to have a major presence in Asia, where it has been active since 2008, the year it first opened in Beijing’s vibrant 798 Art District. It now operates galleries in Hong Kong and Seoul and opened its first gallery in Japan in Tokyo’s Azabudai Hills development in 2024.
RYOJI IKEDA’S IMMERSIVE SOUND AND LIGHT TRILOGY“DATA-VERSE”
Exhibition View: Ryoji Ikeda: data-verse, March 7 to Aug. 10, 2025, courtesy of the Artist and the High Museum of Art, Atlanta, GA Photo Credit: Mike Jensen
ATLANTA, In the spring, the High Museum of Art will present an exhibition of work by Japanese artist Ryoji Ikeda, including the U.S. debut of “data-verse, ” a trilogy of monumental, immersive light and sound installations that represents more than two decades of research by the artist and reflects upon the progressive digitalization of an integrated global society. On view from March 7 to Aug. 10, 2025, “Ryoji Ikeda: data-verse” will also premiere new site-specific work alongside existing works including “data gram,” a series of 18 monitors that take apart, analyze and recombine information Ikeda sourced for his trilogy. Ikeda (born Gifu, Japan, 1966; active Paris and Kyoto) is one of the world’s leading composers and media artists, whose work Artnet describes as “visceral, intellectual and awe-inspiring.. ” His immersive video projections, which will be presented floor-to-ceiling onto the walls of the museum’s largest exhibition space, feature visualizations of data extracted from mathematical theories and the study of quantum physics. His more recent work, including “data-verse” (2019- 2020, commissioned by Audemars Piguet Contemporary), incorporates open-source imagery from institutions such as NASA, CERN and the Human Genome Project. Ikeda produced “data- verse” in three “chapters,” transforming open-sourced data sets through self-written programs to create visual output, which he then synchronized and composed in arrangement with an electronic score. Together, the music, video projections and the museum’s architecture will become a dynamically balanced, self-contained whole. Ikeda’s work immerses the audience in a seemingly endless flow of data and explores the macroscopic depths of the universe and our relationship to it.
Exhibition View: Ryoji Ikeda: data-verse, March 7 to Aug. 10, 2025, courtesy of the Artist and the High Museum of Art, Atlanta, GA Photo Credit: Mike Jensen
“This exhibition will be an experience unlike any we’ve offered before,” said the High’s Director Rand Suffolk. “The mesmerizing, almost hypnotic, installations underscore the ever-changing, technologically manipulated nature of our world and how that can profoundly affect lives. We’re honored to be the first museum in the country to present Ikeda’s thought-provoking work.”
Exhibition View: Ryoji Ikeda: data-verse, March 7 to Aug. 10, 2025, courtesy of the Artist and the High Museum of Art, Atlanta, GA Photo Credit: Mike Jensen
“Ryoji Ikeda’s decades-long exploration of data, from sequences of alphanumeric symbols to collections of images of macro- and microcosms, is more relevant than ever, when data-driven decisions are precipitously changing the way people relate to the world,” said Michael Rooks, the High’s Wieland Family senior curator of modern and contemporary art. “His work across sonic and visual platforms will invite our audiences to rethink conventional relationships between sound and image in our tech-saturated lives.”
Exhibition View: Ryoji Ikeda: data-verse, March 7 to Aug. 10, 2025, courtesy of the Artist and the High Museum of Art, Atlanta, GA Photo Credit: Mike Jensen
“Ryoji Ikeda: data-verse” will be presented in the Cousins Family Special Exhibition Galleries on the Second Level of the High’s Wieland Pavilion.
Ryoji Ikeda is represented by Almine Rech.
Exhibition Organization and Support
“Ryoji Ikeda: data-verse” is organized by the High Museum of Art, Atlanta. “data-verse” wasoriginally commissioned by Audemars Piguet Contemporary, the art program of the Swiss finewatchmaker. This exhibition is made possible by Premier Exhibition Series Sponsor Delta AirLines, Inc.; Premier Exhibition Series Supporters Mr. Joseph H. Boland, Jr., The Fay S. and W. Barrett Howell Family Foundation, Harry Norman Realtors and wish Foundation; Benefactor Exhibition Series Supporters Robin and Hilton Howell; Ambassador Exhibition Sponsors Jones Day and Truist; Ambassador Exhibition Series Supporters Loomis Charitable Foundation andMrs. Harriet H. Warren; and Contributing Exhibition Series Supporters Farideh and Al Azadi, Mary and Neil Johnson, Mr. and Mrs. Baxter Jones, Megan and Garrett Langley, Margot and Danny McCaul, Wade A. Rakes II and Nicholas Miller, and Belinda Stanley-Majors and Dwayne Majors. Generous support is also provided by Alfred and Adele Davis Exhibition Endowment Fund, Anne Cox Chambers Exhibition Fund, Barbara Stewart Exhibition Fund, Dorothy Smith Hopkins Exhibition Endowment Fund, Eleanor McDonald Storza Exhibition Endowment Fund, The Fay and Barrett Howell Exhibition Fund, Forward Arts Foundation Exhibition Endowment Fund, Helen S. Lanier Endowment Fund, John H. and Wilhelmina D. Harland Exhibition Endowment Fund, Katherine Murphy Riley Special Exhibition Endowment Fund, Margaretta Taylor Exhibition Fund, RJR Nabisco Exhibition Endowment Fund and USI Insurance Services.
About the High Museum of Art
Located in the heart of Atlanta, the High Museum of Art connects with audiences from across the Southeast and around the world through its distinguished collection, dynamic schedule of special exhibitions and engaging community-focused programs. Housed within facilities designed by Pritzker Prize-winning architects Richard Meier and Renzo Piano, the High features a collection of more than 20,000 works of art, including an extensive anthology of 19th- and 20th-century American fine and decorative arts; major holdings of photography and folk and self-taught work, especially that of artists from the American South; burgeoning collections of modern and contemporary art, including paintings, sculpture, new media and design; a growing 2collection of African art, with work dating from prehistory through the present; and significant holdings of European paintings and works on paper. The High is dedicated to reflecting the diversity of its communities and offering a variety of exhibitions and educational programs that engage visitors with the world of art, the lives of artists and the creative process.
The exhibition will conclude on the tenth of August. For more information about this exhibition and others at the High Museum of Art, please visit their site here. The museum can also be found on Facebook, Instagram, Medium, TikTok, Threads, and YouTube.
ETRUSCHI DEL NOVECENTO(20TH CENTURY ETRUSCANS)
Exhibition View: Etruschi del Novecento (20th Century Etruscans), Fondazione Luigi Rovati, Milano MI, Italy 2025. Courtesy of the Fondazione Luigi Rovati
On 2 April Fondazione Luigi Rovati inaugurated the exhibition “Etruschi del Novecento (20th Century Etruscans)”, the ambitious project jointly organised with the Mart Museum in Rovereto. True to the foundation’s identity, the exhibition continues the journey begun with the Mart show (7 December 2024 - 16 March 2025) in a distinct and complementary show, proposing a selection of iconic works that shed light on Etruscan culture’s influence on 20th-century Italian artists.
In the exhibition, archaeological finds and masterpieces of modern and contemporary art are displayed along with documents, books and magazines, testifying to the fascination of the artists influenced by Etruscan art’s “anti-classical” aesthetic. Staged over both of the museum’s floors, the exhibition blends into with the permanent collection of the Fondazione Luigi Rovati.
Coperchio di urna cineraria con coppia de sposi Inzio V sec a.C Terracotta Parco Archeologico di Cerveteri e Tarquinia Photo Credit: Courtsey Parco Archeologico di Cerveteri e Tarquinia
A Fascinating Exhibition Route
Visitors are welcomed on the underground floor by the Leone urlante (1957): a “twentieth-century chimera”, a hybrid figure, a fantastic creature embodying the bond between Etruscan art and the experimental approach of Mirko Basaldella.
In the section Inspirations, Etruscan askoi (containers for oily liquids) come back to life in the 1920s porcelain-and-gold vases by Gio Ponti; the ceramic cista La camminata archeologica by Gio Ponti and Libero Andreotti – produced in the second half of the 1920s and on loan from the Poldi Pezzoli Museum (Milan) – echoes an Etruscan cista, a bronze container for storing jewels and cosmetics, from the National Etruscan Museum of Villa Giulia (Rome).
Exhibition View: Etruschi del Novecento (20th Century Etruscans), Fondazione Luigi Rovati, Milano MI, Italy 2025. Courtesy of the Fondazione Luigi Rovati
The motif of reclining figures is explored in the section Modern Reclining figures by the work of Leoncillo Leonardi, a powerful and dramatic interpretation of the famous Sarcofago degli Sposi from Villa Giulia, placed beside the precious Cinerary Urn Lid, on loan from the Archaeological Park of Cerveteri and Tarquinia.The Warhol Room on the main floor has been transformed into the documentation centre for taking a look back at the Appeal of the Etruscans as seen through rare art volumes, magazines, graphic works and posters dedicated to Etruscan culture published, from the late 19th century into the 1980s. In the “White Space”, Paolo Gioli’s series Etruschi (1984) is displayed in full for the first time, along with Alighiero Boetti’s Copertine (1985), an original work from the Fondazione Luigi Rovati’s collection. Paolo Gioli recreates the identity of the Etruscan faces depicted on cinerary urns through his polaroids, giving new vitality to colourless marble faces with chromatic touches and fragments that seem to pulse with life.
From Left to Right: Alghiero Boetti, Cupertino (Anno 1985) 1985 Grafite su carta Fondazione Luigi Milano Photo Credit; Courtsey Fondazione Luigi Rotaie, Milano, Marcello Nizzoli, Bozzette per il Manifesto per la XIX Biennale di Venezia 1934 CSAC- Centro Studi e Archivio della Comunicazione Universita di Parma
In the Copertine series, Alighiero Boetti painstakingly redesigns the covers of important international publications, creating a map of that year’s historic events, a sequence that opens with the cover of Epoca dedicated to the “Etruscans Project”.
Exhibition View: Etruschi del Novecento (20th Century Etruscans), Fondazione Luigi Rovati, Milano MI, Italy 2025. Courtesy of the Fondazione Luigi Rovati
A Multi-Site Exhibition Project
In addition to making use of loans from museums, institutions and collectors, the show benefits from two important collaborations that extend its presence out into the city, and specifically to Villa Necchi Campiglio and the Museo del Novecento. Due to conservation requirements, Arturo Martini’s L’amante morta (1921-22) and Marino Marini’s Popolo (1929), works that are part and parcel of the reflection on the Etruscans’ influence in the twentieth century, are not on display in the exhibition’s spaces but are still a part of the project, visible in the locations where they are customarily on display. The catalogue Etruschi del Novecento contains essays by the curators and scholars such as Matteo Ballarin, Fabio Belloni, Martina Corgnati, Alessandro Del Puppo, Maurizio Harari, Claudio Giorgione, Mauro Pratesi, and Nico Stringa.
School and Educational Activities
The exhibition will be enriched by an extensive offering of educational programs, part of Fondazione Luigi Rovati’s ongoing efforts to give visitors opportunities to learn and explore further. Workshops and group and school visits are designed to offer a more in-depth experience of the exhibition’s major themes, with a particular focus on the influence of Etruscan civilisation on twentieth-century visual culture through a critical and interpretive gaze.
From Left to Right: Fausto Melotti, Gallo, 1955 circa, Ceramica smaltata policroma, Montrasio Arte, Monza, Photo Credit: @Matteo Zarbo per Montrasio Arte, Monza, Uma a capanna, Fine IX, a. C. Ceramica d’impasto, @Fondazione Luigi Rovati, Milano Photo Credit @Giuseppe e Luciano Malcangi per Fondazione Luigi Rovati
Special Offers
For holders of the FLR Card and for the Amici del Mart, entrance is free for the duration of the two exhibitions and reduced for the rest of the year. In addition, visitors in possession of a ticket to one of the two museums can access the other for a reduced price for the duration of the two exhibitions.
The exhibition is supported by
Radio Monte Carlo - Media Partner
Italo Italy's first private operator on the high-speed rail network, as part of its activities to support culture, collaborates with the Luigi Rovati Foundation and promotes the exhibition “Etruschi del Novecento (20th Century Etruscans)”.
For more information and to consult the foundation’s dedicated educational programs, here. To learn about this exhibition and others, please visit Fondazione Luigi Rovati’s website here. The musuem can also be found on Facebook, Instagram, and YouTube.
Kishio Suga: Existence Within Definite Contours
Exhibition View: Kishio Suga: Existence Within Definite Contours, Tomio Koyama Gallery, Tokyo, Japan 2025. Courtesy of the artist and Tomio Koyama Gallery
Tomio Koyama Gallery Kyobashi is pleased to present “Existence Within Definite Contours,” an exhibition by Kishio Suga. Suga has held exhibitions of new works at our gallery for 10 consecutive years since 2015, including “Intentional Scenic Space” (2015), “Divided Orientation of Space” (2017), “Expanded Self-Space” (2018), “Measured Divisional Entities” (2019), “Released Scenic Space” (2020), “Gathered ” (2021), “Not Being Present, Not Being Absent” (2022), “Neither Things nor Sites” (2023), and “There Is Neither Such Thing as Being, Nor Such Thing as Not Being” (2024). This year, Suga will present his first exhibition at our new space in Kyobashi, titled “Existence Within Definite Contours” (2025).
At the Kyobashi gallery, Suga will exhibit new sculptures and installations, while the Roppongi and Tennoz spaces will also hold concurrent exhibitions of his work. In Roppongi, drawings from the 1970s and 80s and small three-dimensional works from the 1980s through 2000s will be exhibited. Meanwhile, the gallery in Tennoz will showcase activation videos, photographs, and drawings, as well as a series of works using paste on slate from the 1990s.
Exhibition View: Kishio Suga: Existence Within Definite Contours, Tomio Koyama Gallery, Tokyo, Japan 2025. Courtesy of the artist and Tomio Koyama Gallery
The catalog, which is published annually, features a special contribution from Simon Groom, Director of the Scottish National Gallery of Modern Art, who curated a two-person exhibition by Suga and Carla Black (2016) and wrote a text for the catalog of Suga’s solo exhibition at the Museum of Contemporary Art Tokyo (2015).
Kishio Suga (1944-) was a key member of the Mono-ha art movement of the late 1960s and 70s. He subsequently went on to deepen the essential world of his works expressed by the diversity of the existence of things, and has carved out a unique niche as a leading contemporary practitioner of postwar Japanese art.
菅木志雄 Kishio Suga 入遠 Entering Distance 2024 wood, acrylic h.119.9 x w.90.0 x d.8.2 cm ©Kishio Suga
Suga’s thinking, which focuses on “things” (mono) themselves that were previously only everyday materials, the human beings who perceive those things, and their relationships with each other, continues to pose fundamental questions about existing art and ways of looking at the world, earning him a formidable international reputation.
Suga has participated in more than 400 exhibitions, and his works are in the collections of more than 40 museums in Japan and abroad, including the Centre Georges Pompidou, the Tate Modern, and the Museum of Modern Art in New York. He will be presenting a solo exhibition at Dia Beacon in New York opening July 19, 2025.
Regarding the new works at this exhibition, and his own practice, Suga says that he now works simply and quickly. “Simplicity is important to me now. I think my work from my younger days was rather complicated. To know what ‘things’ are saying, and a kind of complexity that does not appear as such — that is what is important, however. Works from a long time past and works from the present are continuous, and not divided by time. The thoughtfulness in a particular moment, however, changes what is important and how we see it.”
Exhibition View: Kishio Suga: Existence Within Definite Contours, Tomio Koyama Gallery, Tokyo, Japan 2025. Courtesy of the artist and Tomio Koyama Gallery
On the occasion of this exhibition, Suga penned the following statement.
—————————————
“Existence Within Definite Contours”
Things always exist as singular entities. And yet, people possess a mode of thought that resists this. We try to perceive meaning in things, and things can momentarily reveal aspects they never revealed before. What is visible is not all there is. And just because something is invisible does not mean that it lacks existence. It is the human eye that acknowledges existence—and the same eye that denies it. We must anticipate conditions beyond the norm.
Kishio Suga, May 2025
Of his current work, Suga also had the following to say.
“Before, I would use iron, stone, and rope, but now I only use wood. Although wood suits me in terms of the feeling it gives me and how it relates to my consciousness, the way in which I use things is more important than the materiality of the object. Philosophy is necessary to look at things. The act of creating an artwork is not aboutThings are not ideas: thingsthey already have an existence. Unless you are constantly thinking about what state your actions and circumstances are in, rather than about methodologies, it is extremely difficult to succeed at creating something.” (from an interview conducted at Suga’s studio, February 2025)
Suga’s senses have become even more finely honed over the past decade. Even as he maintains an underlying strain of thinking, he is not averse to change. Thanks to this keen sensitivity to the spirit of the times and human consciousness, Suga’s works continue to express a sense of contemporaneity. He constantly poses us questions, presenting us with a fresh worldview where theory and things intersect with each other. We hope you will take the rare opportunity to visit this exhibition.
For more information about this exhibition and the gallery, please visit the Tomio Koyama Gallery site here. The gallery can also be found on Facebook, X, Instagram, and YouTube.
Yorgos Maraziotis : Blue Moon
Exhibition View: Yorgos Maraziotis Blue Moon K-Gold Temporary Gallery , Greece 2025 Courtesy of the artist and K-Gold Temporary Gallery
K-Gold Temporary Gallery presents Blue Moon, a solo exhibition by Yorgos Maraziotis, curated by Nicolas Vamvouklis. This site-specific installation explores notions of habitation and human connection through a new series of sculptures and spatial interventions.
Continuing his investigation into the identities of public and private spaces, Maraziotis creates works that shift between the real and the imagined. He delves into the concept of displacement and the tension that arises when objects are removed from their original context and reappear charged with new meanings. This shift speaks not only to material transformation but also to the lived experience of moving from one place to another.
Exhibition View: Yorgos Maraziotis Blue Moon K-Gold Temporary Gallery , Greece 2025 Courtesy of the artist and K-Gold Temporary Gallery
The exhibition originates from oral testimonies collected from former residents of the neoclassical house that now hosts K-Gold Temporary Gallery, located in the village of Agia Paraskevi on Lesvos island. These voices are translated into dynamic works made of neon, marble, metal, and mirror. In parallel, the artist reintegrates architectural elements that had been removed during the building’s renovation—material anchors of memory and links to the past.
Exhibition View: Yorgos Maraziotis Blue Moon K-Gold Temporary Gallery , Greece 2025 Courtesy of the artist and K-Gold Temporary Gallery
The result is a hybrid landscape at once familiar and unexpected. A theatrical scene where personal and collective narratives interweave into a journey through fragments of stories and emotions.
The exhibition is accompanied by a bilingual (Greek/English) publication featuring a conversation between the artist and Sam Steverlynck (curator, S.M.A.K. Ghent), designed by Marlon Tate.
Exhibition View: Yorgos Maraziotis Blue Moon K-Gold Temporary Gallery , Greece 2025 Courtesy of the artist and K-Gold Temporary Gallery
Blue Moon opened on July 12 and will be on view until August 31, 2025. For more information about this exhibition and other events at K-Gold, please visit their website here. K-Gold can also be found on Facebook and Instagram. The magazine did an interview with Yorgos, which can be found here.
Esiri Erheriene-Essi: Reflections
Installation view, Esiri Erheriene-Essi: Reflections, Night Gallery, Los Angeles. Image courtesy of the artist and Night Gallery 2025. Photo: Marten Elder
Night Gallery opened “Reflections,” a presentation of new paintings by Esiri Erheriene-Essi, on May 23rd. This is the artist’s first solo exhibition with the gallery. Based in Amsterdam, Erheriene-Essi created these works across an ocean, their arrival in Los Angeles a resonant offering, bringing with them the quiet weight of distance traveled and stories carried.
Across this new body of work, Erheriene-Essi carries on with her time-honored tradition of breathing life into inspired and discarded photographs, using paint, color, and layered ephemera to investigate memory. The artist works through her paintings with the same skill and stewardship as a quilter, threading together histories through texture and tone. In this new series, she embraces the flatness of photographic source material while deepening the emotional and chromatic complexity of brown skin—bringing dimension, variation, and luminosity to the surface.
Esiri Erheriene-Essi As my grandma always used to say, don't go borrowing trouble, 2023 oil, ink, and xerox transfer on linen 53 x 53 in (134.6 x 134.6 cm) framed: 54 1/2 x 54 1/2 x 2 1/4 in (138.4 x 138.4 x 5.7 cm)
This evolution is on view in A Royal Flush, a work depicting what the artist imagines to be a group of men enjoying their last days together before deployment to Vietnam. Their faces are marked by a spectrum of hues, highlights, shadows, and undertones, encapsulating the use of color as a tool to depict emotion.
Installation view, Esiri Erheriene-Essi: Reflections, Night Gallery, Los Angeles. Image courtesy of the artist and Night Gallery 2025. Photo: Marten Edler
An archivist and collector first, Erheriene-Essi begins her process by mining through estates and online repositories for faces and vignettes that speak to her. This collection has amassed across continents and oceans, from North America to Europe to Africa, demonstrating the diversity of Black identity, while illuminating the moments that are universal across all our memories.
Erheriene-Essi is deeply moved by the connection between the diaspora, not only across geography, but across time. Throughout Reflections she continues her exploration of this relationship. Motifs such as the Black power fist, the face of Toni Morrison, a “Dismantle Apartheid” pin, all time travel accentuating the collective memory
In her dissection of memory, Erheriene-Essi is a visual anthropologist, reading images for context clues and filling their gaps with gestures from her own lived experience. In A memory from your youth (London Trocadero), a fan poster for Beyoncé’s Cowboy Carter tour noticeably sits on the shirt of a girl eating ice cream in the 1970s. The artist’s temporal twist, fusing together past and present, melds Black iconography with earnest symbols of nostalgia.
Esiri Erheriene-Essi Same Town, New Story (Nigeria Airways), 2023 oil, ink and xerox transfer on linen 65 x 68 7/8 in (165 x 175 cm) framed: 66 1/2 x 70 1/2 x 2 1/4 in (168.9 x 179.1 x 5.7 cm)
As an artist, her mastery of collapsing time ensures the continuity of the culture. These paintings were created over the course of two years, in rhythm with the demands of motherhood—a theme that quietly permeates the work through the lens of legacy and inheritance. Erheriene-Essi sees her practice as an active conversation, one that begins with her paintings but is completed by the viewer’s own activations of memory.
Installation view, Esiri Erheriene-Essi: Reflections, Night Gallery, Los Angeles. Image courtesy of the artist and Night Gallery 2025. Photo: Marten Elder
The exhibition is titled in honor of the song by Diana Ross & The Supremes, a comfort album that has accompanied the artist through many seasons of her life, including the making of this body of work. The most apropos of the lyrics being:
“Reflections of the way life used to be.
Reflections of the love you took from me.”
In faded hues and frayed edges, Erheriene-Essi develops an architecture of remembrance, for what has been lost, and for which should never be. Her paintings become mirrors, not of the past as it was, but as it is felt. Reflection as a sacred act of reclamation.
Installation view, Esiri Erheriene-Essi: Reflections, Night Gallery, Los Angeles. Image courtesy of the artist and Night Gallery 2025. Photo: Marten Elder
For more information about this exhibition and current and future exhibitions, please visit Night Gallery’s site here. The magazine did an interview with Esiri, which can be found here.
Everyday Practices
Installation view of 'Everyday Practices’ at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.
Singapore Art Museum (SAM) unveiled its new collection gallery at Tanjong Pagar Distripark with the inaugural exhibition Everyday Practices, reaffirming its commitment to showcasing and curating contemporary art from the National Collection that inspires profound reflections on our world today. Opened to the public on 30 August 2024, the exhibition is housed in the new Gallery 4 on Level 3 — SAM’s first space at Tanjong Pagar Distripark dedicated to highlighting varied critical artworks in the museum’s collection. Everyday Practices delves into the fundamental conditions of life and meaning, featuring works from 19 artists and one artist collective from 10 Asian countries.
Everyday Practices draws inspiration from Tehching Hsieh’s seminal work, One Year Performance 1978–1979, where Hsieh confined himself to a self-constructed holding cell in his studio and remained in solitude for a year, abstaining from activities such as conversation, reading, writing, listening to the radio, or watching TV. This became the first of Hsieh’s five year-long durational performances which turned the banality of life and the passage of time into both medium and subject for his art.
Building on Hsieh’s philosophy, Everyday Practices brings together diverse artworks by artists from different generations and geographies across Asia, focusing on the themes of “everyday”,“repetition,” ” and “endurance.” These artworks showcase the inventive ways artists have appropriated daily routines and lived experiences to express powerful statements of resilience and endurance in navigating adversity.
Installation view of 'Everyday Practices’ at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.
The exhibition spotlights SAM’s efforts to grow a distinct and diverse collection with significant artworks from around the world and to present thoughtfully curated collection-focused exhibitions for local and international audiences. With the new collection gallery, SAM continues to offer new ways to explore artworks and practices that reflect our contemporary conditions. It also serves as a space that encourages active participation, discourse, and dialogue.
“The opening of Everyday Practices at SAM’s new collection gallery marks a significant milestone in our efforts to develop and showcase SAM’s critical collection of contemporary art. By deepening research on and expanding the collection scope of artistic practices from the 2000s in Southeast Asia and beyond, SAM aims to draw out narratives and perspectives that highlight the region’s diversity and connection with the global. We look forward to welcoming visitors to this new space, where everyone is invited to engage in dialogues with and around art that defines our time.”
Detail view and Installation view of Maria Taniguchi’s ‘Untitled’ (2017) as part of ‘Everyday Practices’ at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.
Continuing the theme of repetition, Maria Taniguchi’s Untitled features a brickwork pattern covering the entirety of the artwork surface, extending endlessly. Each brick, a fundamental element in our daily environment, is painstakingly outlined in pencil and washed with black acrylic. This visual and conceptual device links this painting to others in the series. The varying dilutions of the paint introduce subtle tonal shifts, reflecting the passage of time and the steady, labour-intensive process that characterises Taniguchi’s work.
Everyday Practices further examines how routine actions and gestures can serve as subtle forms of resistance, revealing how art becomes a tool to navigate challenges amid ongoing global conflicts and humanitarian crises. Htein Lin’s Soap Blocked utilises everyday items from his environment to convey powerful messages. Just as how Taniguchi hand-draws each brick, Htein Lin’s installation features hundreds of hand-carved soap blocks, arranged to form a map of his native country Myanmar, with red blocks marking the locations where political prisoners have been held. Upon closer look, each soap block reveals a tiny, hunched figure trapped within the rectangular space. This work reflects Htein Lin’s personal history of imprisonment for political dissent and the collective helplessness experienced under military rule.
Installation view of Khvay Samnang’s ‘Untitled’ (2011-2013) as part of ‘Everyday Practices’ at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.
Echoing this concept, Khvay Samnang’s Untitled depicts the artist pouring a bucket of sand over himself in five different lakes in Cambodia’s capital Phnom Penh. This act, documented in video, responds to the displacement of thousands of families due to the illegal sale of state-owned lakes to private investors. Khvay’s futile yet symbolic gesture captures the powerlessness of the resettled communities, resigned to their fate.
Installation view of Minstrel Kuik’s ‘Domesticated Politics’ (2015) as part of ‘Everyday Practices’ at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.
Narratives shaped by turbulent political landscapes and histories are also explored in Minstrel Kuik’s Domesticated Politics, which recontextualises flags from Malaysia’s 2013 General Elections by presenting them as DIY creations. By abstracting and “muting” these flags through domestic acts like folding and ironing, Kuik feminises and softens objects that were once exuberant, masculine, and heroic, offering a reflective commentary on the political and societal landscape of the country. Similarly, Svay Sareth’s Mon Boulet— French for “my ball” or colloquially, “my burden” — involved a gruelling 250-kilometre journey from Siem Reap to Phnom Penh over six days, during which he dragged an 80-kilogram metal ball through the streets and alleys of Cambodia. This arduous feat symbolises the heavy personal and historical burdens that still linger in Cambodian society today while highlighting the resilience of the human spirit, as embodied in the ball’s relentless forward motion.
Installation view of Guo-Liang Tan’s ‘Peripheral Ritual I–III’ (2018) as part of ‘Everyday Practices’ at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.
Guo-Liang Tan’s Peripheral Ritual I–III consists of three paintings made with thinned paint on aeronautical fabric, producing seemingly accidental yet meticulously composed stains through various bodily gestures such as shifting, tilting and turning. Tan's process, which he describes as using his “own body to respond to the painting as objects, ” results in amorphous hues that evoke the appearance of bruised skin, highlighting the physicality of his approach and the negotiations between body, material and laws of physics (or forces of gravity). Wong Hoy Cheong’s Tapestry of Justice extends this exploration of subtle resistance through a delicate tapestry of over 10,000 photocopied thumbprints held together with plant leaves and petals. Collected during Malaysia’s Reformasi movement in the late 1990s, they function as an artwork and a petition, highlighting the ironic duality of thumbprints as a mark of criminality and a reliable form of identification, while emphasising the power of collective action to drive change.
Detail view of Jerome Kugan’s ‘The Internalised Self: Apollo’ (2018) as part of ‘Everyday Practices’ at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum. Installation view of Imhathai Suwatthanasilp’s ‘The Flower Field’ (2012) as part of ‘Everyday Practices’ at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.
Other artworks compellingly reflect narratives of endurance in the face of personal adversities. Jerome Kugan’s The Internalised Self series (Atlas, Apollo, Icarus, Ganymede) features ambiguous and androgynous figures set against crimson backgrounds on recycled cartons of antiretroviral drugs, alluding to the artist’s HIV-positive status. These figures, devoid of conventional gender markers, explore themes of selfhood and resilience, transforming a deeply personal predicament into a narrative of self-reckoning and empowerment. Similarly, Imhathai Suwatthanasilp’s The Flower Field, featuring meticulously handspun balls of hair donated by cancer patients, survivors, and supporters, evokes a utopian realm. This poignant tribute to human resilience carries a powerful message of hope for a brighter future.
About Singapore Art Museum
Singapore Art Museum opened in 1996 as the first art museum in Singapore located in the cultural district of Singapore. Known as SAM, the museum presents contemporary art from a Southeast Asian perspective for artists, art lovers and the art curious in multiple venues across the island, including a new venue in the historic port area of Tanjong Pagar.
The museum is building one of the world's most important public collections of Southeast Asian contemporary art, with the aim of connecting the art and the artists to the public and future generations through exhibitions and programmes. SAM is working towards a humane and sustainable future by committing to responsible practices within its processes
Everyday Practices opened on 30 August 2024 and will close on 20 July 2025.. For more information about the exhibition and other exhibitions at SAM, please visit their site here. The museum can also be found on Facebook, Instagram, X, and YouTube.
Steve McQueen: Bounty
Exhibition View, Steve McQueen: Bounty, Marian Goodman Gallery Paris, 2025 Courtesy of the artist and Marian Goodman Gallery Photo Credit: Rebecca Fanuele
Marian Goodman Gallery is pleased to present Bounty, Steve McQueen's first solo exhibition in France since 2016. One of the most influential artists of his generation and an internationally acclaimed filmmaker, McQueen is known for his inventive dissemination of social constructs, often addressing painful and overlooked histories through projected images and sound. Bounty, a series of 47 photographs capturing the vivid beauty of flowers native to the Caribbean Island of Grenada, makes its European debut following its presentation at Dia Chelsea in New York. Through this verdant imagery, McQueen offers more than a study of nature: he presents a meditation on history, West Indian heritage, and resilience. A new work will be presented alongside Bounty.
Bounty is not McQueen’s first work created in Grenada, his parents’ country of origin; two earlier video installations, Carib’s Leap (2002) and Ashes (2016), each subsequent results of his travels there, juxtapose idyllic scenes with tragic narratives. While Carib’s Leap is a poignant homage to the island’s indigenous people who in 1651 once chose death over surrendering to the invading French, Ashes commemorates the life of a young man, murdered at 25 at the hands of drug dealers. These works challenge the postcard-perfect imagery often associated with the Caribbean, subtly suggesting that beauty and violence, life and death, have always coexisted on the island.
Exhibition View, Steve McQueen: Bounty, Marian Goodman Gallery Paris, 2025 Courtesy of the artist and Marian Goodman Gallery Photo Credit: Rebecca Fanuele
With Bounty, McQueen continues this exploration through a similarly evocative approach. At first glance, the 47 photographs on view present vibrant, colorful and tropical flora, such as yellow hibiscus, West Indian jasmine and pink ginger lily, reminiscent of the tradition of floral representations in art history. Yet beneath the surface of this inflorescence lies a deeper, more painful truth. These plants have silently witnessed the island’s tragic past: the disappearance of its indigenous people and the cruel history of colonization, marked by the deportation and enslavement of Africans under French and British rule over the course of several centuries.
Exhibition View, Steve McQueen: Bounty, Marian Goodman Gallery, Paris, 2025. Courtesy of the artist and Marian Goodman Gallery Photo Credit: Rebecca Fanuele
“What has been constant in the landscape is the beauty of the flowers. These plants have been a marvel in a landscape traumatized by colonialism and slavery,” explains McQueen who sees these flowers “as flesh wounds, as hurt, as pain.” In McQueen’s eyes, the contrast between nature's splendor and history's brutality reveals a disturbing paradox: “Sometimes the most horrible things happen in the most beautiful places; it’s perverse.” This contradiction is further pronounced by the title of the series, with Bounty referring both to nature’s abundance and to the reward once paid for capturing or killing enslaved people.
Through each flower’s concealed encapsulation of untold stories, hopes and sufferings, McQueen pays tribute to generations of the West Indies’s inhabitants. Here, evergrowing florals simultaneously symbolize acts of remembrance and resilience. The intensity of the series comes not only from this historical evocation but also from the intricate details of the installation, in which prints are arranged in one continuous line across the gallery’s Sienna red-painted walls. McQueen’s close attention to the viewer’s experience is a constant in his practice, each of his presentations is conceived as a transformative journey, prompting reflection on how one’s gaze changes between entering and leaving the exhibition space.
Exhibition View, Steve McQueen: Bounty, Marian Goodman Gallery Paris, 2025 Courtesy of the artist and Marian Goodman Gallery Photo Credit: Rebecca Fanuele
As cultural studies scholar Paul Gilroy notes in a recent essay: “Steve McQueen’s art has frequently confounded the human sensorium. His restless reorientation of visual perception has involved inventing new angles from which to examine the human body and the world. He has sought perspectives to defamiliarize the eyes’ interpretative habits, interrogating its 'peculiar disposition’ to perceive the world in racializing ways. The quest for unprecedented ways to see and thus to know, is unrelenting.” (Paul Gilroy, “For a Low-end Theory of Black Atlantic Cymatics” in Steve McQueen, Bass, published by Laurenz Foundation, Schaulager Basel and Dia Art Foundation, 2024.)
A conversation between McQueen and Hans Ulrich Obrist, Artistic Director, Serpentine Galleries, London, will be held at the gallery on Saturday, 21 June at 4 pm. Admission is free, subject to availability and advance booking.
Awarded the Turner Prize in 1999 and the 2024 Rolf Schock Prize in Visual Arts, Steve MᶜQueen (1969 - ) has had his artwork presented at some of the most significant venues and museums around the world. His work has been featured in Documenta (1997 and 2002). He represented Great Britain at the 53rd Venice Biennale in 2009 and was selected several times for the Venice Biennale (2003, 2007, 2013, and 2015). A co-commission by Dia Art Foundation and Laurenz Foundation, Schaulager, Bass (2024) is an immersive, site-responsive installation consisting of shifting spectrums of light in concert with sound inspired in part by the hybrid musical idiom that resulted from the transatlantic slave trade, on view at Dia Beacon until 26 May 2025, that will continue onwards with a custom presentation at Schaulager, Basel from 15 June to 16 November 2025. A concurrent presentation of Sunshine State is currently on view at Dia Chelsea in New York until 19 July 2025. Resistance, a show conceived by McQueen that chronicles a century of British protest through photography, is on view through 1 June 2025 at Turner Contemporary, Margate (UK), before traveling to the National Galleries Scotland: Modern Two, Edinburgh, from 21 June 2025 to 4 January 2026.
Solo exhibitions of his work have been held at the Art Institute of Chicago (2002, 2009, 2012, 2017); Schaulager, Basel (2012-2013); Whitworth Art Gallery, Manchester (2017); The Museum of Modern Art, New York (2017); Institute of Contemporary Art, Boston (2017). In 2019 he presented YEAR 3 at Tate Britain and had a major solo exhibition at Tate Modern in 2020, which toured to Pirelli HangarBicocca, Milan, in 2022. In 2023, Grenfell, a film made in response to the tragic fire that took place at Grenfell Tower, was presented at the Serpentine South Gallery, London. A national tour of Grenfell (2025-2027) is currently in progress in public art galleries in six major cities across England, Scotland, Wales and Northern Ireland.
Exhibition View, Steve McQueen: Bounty, Marian Goodman Gallery Paris, 2025 Courtesy of the artist and Marian Goodman Gallery Photo Credit: Rebecca Fanuele
MᶜQueen has directed five feature films; Hunger (2008), Shame (2011), 12 Years a Slave (2013), Widows (2018) and Blitz (2024). Hunger was awarded the Caméra d’Or at the Cannes Film Festival, and 12 Years a Slave received the Golden Globe, Oscar, and BAFTA Awards for best picture in 2014. His latest feature, Blitz, the story of a mixed-race family in the context of the bombing of London in 1940, was released in 2024. In 2020, he directed Small Axe, an anthology of five films about London’s West Indian community and in 2021, Uprising, a three-part documentary with James Rogan about the New Cross Fire in London in 1981. His documentary film, Occupied City, a portrait of Nazi and modern-day Amsterdam, debuted at Cannes in May 2023.
MᶜQueen was named an Officer of the Order of the British Empire (OBE) in 2002 and a Commander of the Order of the British Empire (CBE) in 2011. He was knighted in the 2020 New Year Honors list. MᶜQueen was born in West London and is based in London and Amsterdam.
Steve McQueen’s Bounty opened on May 24 and will conclude on July 25, 2025. A conversation took place between Steve McQueen and Hans Ulrich Obrist on Saturday, June 21, at 4 pm. Marian Goodman gallery at the Paris Location, 66 Rue du Temple, 75003 Paris, France. For more information about the exhibit, please visit the Marian Goodman Gallery’s site. The gallery can be found on Instagram and Artsy, too.
Peter Fillingham: Basil Dress
Installation view, Peter Fillingham Basil Dress, Marian Goodman Gallery, Paris, 2025 Courtesy of the artist and Marian Goodman Gallery Photo credit: Rebecca Fanuele
Marian Goodman Gallery is pleased to present for the first time a solo show by Peter Fillingham featuring a new group of sculptural works that resonate with memory and history. Working primarily with found materials—objects often dismissed for their low cultural or economic value—Fillingham transforms the overlooked into sculptural forms and installations that carry a sense of theatricality. Rooted in the margins, both geographic and material, his practice exists where art coexists with everyday life. He draws inspiration from the structures and systems that operate behind the scenes in zones of transit, trade, and daily exchange, where colors are haphazard and materials give rise to unintentional sculptural ‘events.’
Upon entering the gallery, visitors encounter Fruit Salad, 2025, an installation comprising a jacket, an overcoat and trousers given to Fillingham by his long-time friend, the artist Tacita Dean. The set of garments, which belonged to her grandfather, Basil Dean, inspires Fillingham to evoke ENSA - The Entertainment National Service Association founded by Basil Dean in 1939. ENSA’s aim was to provide entertainment for British and Allied forces in warzones through comedians, singers, dancers and other performers who devoted themselves to providing levity for the entirety of the war. Fillingham found affinity with ENSA’s philosophy of improvisation, economy of means and inclusivity along with its affiliation with the Pierrot troupes from the time of World War I.
Both the coat and undercoat have been whimsically refabricated by Fillingham, layered with brightly-colored vintage satin patches, black pompoms and Pierrot costume ruffs to reference the ENSA troupe’s playful disruption of the formal codes using improvised elements. For curator Cécile Bourne-Farrell: “It is this place of disruption from regimented military discipline, all the more enhanced because of its makeshift, haphazard context, where Peter Fillingham feels at home. Within these marginal, liminal spaces where a rupture has taken place, Fillingham believes the resilience of human beings —and the connections between them— is exposed.”
Installation view, Peter Fillingham Basil Dress, Marian Goodman Gallery, Paris, 2025 Courtesy of the artist and Marian Goodman Gallery Photo credit: Rebecca Fanuele
The exhibition's title refers to the term used for the military uniform that Basil Dean advocated for ENSA performers to wear, both to legitimize their position within the armed forces and to ensure their safe return.
The works 17s Strip and 8s Helter Skelter, also convey theatrical qualities but in an abstract fashion; as compositions made with wooden bars covered with colored fabric or ribbon, they are equally rooted in the formal language of minimal sculpture and the visual vocabulary of folk culture. The floating diagonal shape in Small drop, 2025 —inspired by Paul Sérusier’s oil painting The Golden Cylinder from 1910— multiplies to form installations of delicate balance, at the limits of uncertainty. Here, 2025, a disregarded object that was once a tiny vessel, is enlarged, painted and formally suspended and displayed.
Installation view, Peter Fillingham Basil Dress, Marian Goodman Gallery, Paris, 2025 Courtesy of the artist and Marian Goodman Gallery Photo credit: Rebecca Fanuele
In the second space of the gallery, BF,RE,FW,DJ,CG,GJ,GB,MJ, 2024, is a wall-mounted grid of cards with alphabet letters arranged in rows and columns according to a rigorous layout designed to remain indecipherable. The audience is invited to select letters to make up the initials of people they wish to be celebrated or recognized, with wooden steps for visitors to reach wherever they wish. This work was first made as a contextual response for Exile Street / High, curated last year by artist Peter Lewis at Ealing Project, London. It embraced the fluid and radical musical history of the space for many well known rock stars, whilst creating an intergenerational space for new audiences.
“Thinking about Peter,” explains Tacita Dean, “I realise how much he loves yarn and yarn: not only threads, fabric and colour, but also that he loves to talk and tell stories. He is a confluence of the oral traditions of both his parents, and of high and low art. His sculpture might appear improvised or jerry-built but this belies a deeper structure and purpose beneath his decisions. Despite the casual playfulness of some of his artworks, Peter is also quite a formal sculptor. There is rigging and weave in his process, as well as a great deal of humour and playfulness, camaraderie and spirit, sometimes mixed with a touch of whimsy.”
Installation view, Peter Fillingham Basil Dress, Marian Goodman Gallery, Paris, 2025 Courtesy of the artist and Marian Goodman Gallery Photo credit: Rebecca Fanuele
Born in Portsmouth, England, in 1964 to an Anglo-Indian family, Peter Fillingham obtained a BA in Fine Art, specializing in sculpture at the Camberwell School of Art and Design in 1987 and an MA in Sculpture at the Royal College of Art, London in 1989. In 1991, Fillingham was invited to Atelier Boltanski through École Nationale des Beaux-Arts in Paris and has maintained a close relationship with France ever since, having lived in the country for 8 years in the 2010s.
Since the early 1990s Fillingham has regularly exhibited his works, often in project or artist-run spaces, churches, villages and halls where art is integrated into everyday life. His project Fleurs d’Ivry, was a joint installation with Henry Coleman at the Bomb Factory Art Foundation in London earlier this year. His most recent solo exhibition, Love France, was at the Project 78 Gallery in St. Leonards-on-sea in 2022. Fillingham has worked on many collaborative projects with Tacita Dean and Rasheed Araeen over the years, including a joint exhibition at the Chelsea Space in London in 2018 with Araeen.
Installation view, Peter Fillingham Basil Dress, Marian Goodman Gallery, Paris, 2025 Courtesy of the artist and Marian Goodman Gallery Photo credit: Rebecca Fanuele
Throughout his career as an artist, Fillingham has been both course director and associate lecturer at many renowned art colleges in the UK and France, including UAL, Goldsmiths College and Parsons Paris. Fillingham lives and works in Hastings, England.
Peter Fillingham Basil Dress is being held at the Marian Goodman gallery at the Paris Location, 66 Rue du Temple, 75003 Paris, France. The exhibition opened on 22 May and will conclude on 18 July 2025. There was an opening Reception: Thursday, 22 May 2025, 6 - 8 pm. For more information about the exhibit, please visit the Marian Goodman Gallery’s site. The gallery can be found on Instagram and Artsy, too.
Amy Sherald: American Sublime
Amy Sherald, What's precious inside of him does not care to be known by the mind in ways that diminish its presence (All American), 2017. Oil on canvas, 54 × 43 × 2 1/2 in. (137.16 × 109.22 × 6.35 cm). Private collection, courtesy Monique Meloche Gallery. © Amy Sherald. Courtesy the artist and Hauser & Wirth. Photograph by Joseph Hyde
This exhibition includes a billboard across from the Museum’s entrance on Gansevoort Street.
Amy Sherald is a storyteller. She creates precisely crafted narratives of American life, selecting, styling, and photographing her sitters as the foundation for her nuanced paintings. Thus, while Sherald (b. 1973; Columbus, Georgia) bases her works on specific people, they are more than traditional portraits. They center everyday Black Americans, compelling in their individuality and extraordinary in their ordinariness, inviting viewers to step into Sherald’s imagined worlds. In this exhibition, paintings of such ordinary Americans join her iconic portraits of First Lady Michelle Obama and, heartbreakingly, Breonna Taylor, to produce a resonant ode to the multiplicity and complexity of American identity.
Amy Sherald, Michelle LaVaughn Robinson Obama, 2018. Oil on linen, 72 1/8 × 60 1/8 × 2 3/4 in. (183.1 × 152.7 × 7 cm). National Portrait Gallery, Smithsonian Institution. The National Portrait Gallery is grateful to the following lead donors for their support of the Obama portraits: Kate Capshaw and Steven Spielberg; Judith Kern and Kent Whealy; Tommie L. Pegues and Donald A. Capoccia. Courtesy of the Smithsonian’s National Portrait Gallery
Sherald also makes the images she wants to see in the world. Although she considers herself an inheritor of the American Realist tradition of artists such as Edward Hopper—a genre that was central to the Whitney’s origins nearly a century ago—those artists focused on the lives of everyday white Americans. Instead, Sherald privileges a population that has historically been omitted from art history and wider visual representation. By doing so, she challenges us to think more broadly about American Realism, suggesting an additional lineage for it: one born from the art departments and galleries of Historically Black Colleges and Universities (HBCUs), where she first trained as an artist, and one that includes such underrecognized figures as William H. Johnson, Archibald Motley, and Laura Wheeler Waring, among others.
Amy Sherald, American Grit, 2024. Oil on linen, 95 × 76 1/2 × 2 1/2 in. (241.3 × 194.3 × 6.35 cm). Courtesy the artist and Hauser and Wirth. © Amy Sherald. Photograph by Kevin Bulluck
Across Amy Sherald: American Sublime, Sherald’s contemplative subjects appear most concerned with their own interiority, prioritizing their own peace and self-realization over how others might perceive them and the shackles of history, though they are inevitably impacted by both. Her audacious project highlights what she has called the “wonder of what it is to be a Black American,” rendering a rich and unconstrained Black world in vibrant Technicolor.
Amy Sherald, For Love, and for Country, 2022. Oil on linen, 123 1/4 × 93 1/8 × 2 1/2 in. (313 × 236.5 × 6.4 cm). San Francisco Museum of Modern Art, Purchase, by exchange, through a gift of Helen and Charles Schwab. © Amy Sherald. Courtesy the artist and Hauser & Wirth. Photograph by Joseph Hyde
Amy Sherald: American Sublime is organized by San Francisco Museum of Modern Art. This exhibition is curated by Sarah Roberts, former Andrew W. Mellon Curator and Head of Painting and Sculpture at SFMOMA. The presentation at the Whitney Museum of American Art is organized by Rujeko Hockley, Arnhold Associate Curator with David Lisbon, curatorial assistant.
Amy Sherald: American Sublime is sponsored by Delta, Bank of America
Amy Sherald, If You Surrendered to the Air, You Could Ride It, 2019. Oil on linen, 130 × 108 × 2 1/2 in. (330.2 × 274.3 × 6.4 cm. Whitney Museum of American Art, New York; purchase with funds from the Painting and Sculpture Committee, Sascha S. Bauer, Jack Cayre, Nancy Carrington Crown, Nancy Poses, Laura Rapp, and Elizabeth Redleaf 2020.148. © Amy Sherald. Photograph by Joseph Hyde
Major support is provided by Ford Foundation.
Major support is also provided by Judy Hart Angelo, Nancy and Steve Crown, Agnes Gund, Hauser & Wirth, the Kapadia Equity Fund, The KHR McNeely Family Foundation | Kevin, Rosemary, and Hannah Rose McNeely, Nancy and Fred Poses, and Anne-Cecilie Engell Speyer and Rob Speyer.
Significant support is provided by Marcia Dunn and Jonathan Sobel, The Holly Peterson Foundation, and Dana Su Lee.
Installation view of Amy Sherald: American Sublime (Whitney Museum of American Art, New York, April 9-August 10, 2025). Four Ways of Being, 2024. Photograph by Tiffany Sage/BFA.com. © BFA 2025
Generous support is provided by Sarah Arison, Alexandre and Lori Chemla, John and Amy Griffin Foundation, Ashley Leeds and Christopher Harland, Deepah Kumaraiah and Sean Dempsey, McCallum Family, Jonathan M. Rozoff, Todd White and Cameron Carani, and an anonymous donor.
Additional support is provided by Suzanne and Bob Cochran, Sheree and Jerry Friedman, Barbara and Michael Gamson, the Girlfriend Fund, Alice and Manu Sareen, Barbara Karp Shuster, and George Wells and Manfred Rantner.
New York magazine is the exclusive media sponsor.
Installation view of Amy Sherald: American Sublime (Whitney Museum of American Art, New York, April 9-August 10, 2025).. Photograph by Tiffany Sage/BFA.com. © BFA 2025
Amy Sherald: American Sublime opened on April 9 and will run through August 2025 at the Whitney Museum of American Art.
For more information about this exhibition and others at the Whitney Museum of American Art, please visit their website. The museum can also be found on Instagram, YouTube, X, TikTok, Threads, and Facebook.
Robert Indiana: The American Dream
Robert Indiana, The American Dream, 1992, cast 2015 SCULPTURE painted bronze 83-7/8" ×35 1/2" ×11-13/16" (213 cm ×90.2 cm ×30 cm)© The Robert Indiana Legacy Initiative, courtesy Pace Gallery
Pace is pleased to announce that it will present Robert Indiana: The American Dream, a major exhibition including seminal examples of paintings and sculpture created by the artist beginning in the early 1960s and developed throughout subsequent decades of his artistic career, to be shown at its 540 West 25th Street gallery in New York from May 9 to August 15. Examining Indiana’s critique of the duality of the American Dream—both its promise and its privations—this exhibition will highlight the connections between the artist’s personal history and the social, political, and cultural realities of postwar America. Reflecting on the critical and political underpinnings of Indiana’s work, as well as his enduring impact as an artist, Pace’s presentation will include loans from several prominent institutions.
One of the preeminent figures in American art since the 1960s, Robert Indiana–born Robert Clark in the state of Indiana in 1928–played a central role in the development of assemblage art, hard-edge painting, and Pop art. Indiana, a self-proclaimed “American painter of signs,” created a highly original body of work that explores American identity, personal history, and the power of abstraction and language. His legacy resonates in the work of many contemporary artists who make the written word a central element of their oeuvre, making him one of the most important figures in the recent history of art.
Robert Indiana,Apogee ,1970 PAINTING oil on canvas 60" ×50" (152.4 cm ×127 cm) © The Robert Indiana Legacy Initiative, courtesy Pace Gallery
Pace’s exhibition in New York will be accompanied by a new catalogue from Pace Publishing, which will shed light on Indiana’s lifelong artistic engagement with both the aspirations of the American dream and its dark underbelly–the repressed dimensions of American history and society, from colonialism to materialism and commodification. Among the works on view will be the 1961 painting The Calumet, which features the names of Native American tribes, acknowledging the presence of Indigenous life and culture within the subconscious of America; The Black Marilyn (1967/1998), a painting that speaks to the commodification of celebrity and desire in American mass media in the 1960s; and the painted bronze sculpture The American Dream (1992/2015), bearing fundamental words of the human condition: “HUG,” “ERR,” “EAT,” and “DIE.”
Robert Indiana, Flagellant,1963/1969 SCULPTURE oil on wood, with rope and cast iron 63" (160 cm), variable width © The Robert Indiana Legacy Initiative, courtesy Pace Gallery
“In many ways, Indiana is an artist whose work has been eclipsed by its own fame. This exhibition is about rediscovering the real Indiana, the radical and probing artist he really was. Both a pioneer and an outlier in the 1960s, the impact of his efforts to imbue formalist abstraction with content is difficult to overstate. Indiana’s work of the sixties reveals the true nature of the American dream as a dialectic: even as it uplifts, it also oppresses. Even as it offers the grandest of aspirations, it remains founded in a history of violence that lies embedded in language itself.”
Robert Indiana, LOVE (The American LOVE),1966–2000, Conceived: 1966; Executed: 2000 SCULPTURE polychrome aluminum36" ×36" ×18" (91.4 cm ×91.4 cm ×45.7 cm)© The Robert Indiana Legacy Initiative, courtesy Pace Gallery
Pace’s presentation will also include works from Indiana’s iconic LOVE series, recontextualizing this important and well-known image within his broader practice and tying this motif to other words and ideas—including “EAT” and “DIE”—that recur across his paintings and sculptures, symbols of both personal and universal significance in Indiana’s work.
Robert Indiana, The Demuth Five, 1963, PAINTING, oil on canvas 64" ×64" (162.6 cm ×162.6 cm), diamond, © The Robert Indiana Legacy Initiative, courtesy Pace Gallery
Today, Indiana’s work can be found in the permanent collections of museums including the Museum of Modern Art and the Whitney Museum of American Art in New York; the Art Institute of Chicago; the National Gallery of Art, the Hirshhorn Museum and Sculpture Garden, and the Smithsonian Museum of American Art in Washington, D.C.; the San Francisco Museum of Modern Art; the Menil Collection, Houston; Tate Modern, London; the Neue Nationalgalerie, Berlin; MUMOK (Museum Moderner Kunst Stiftung Ludwig Wien), Vienna; Museum Ludwig, Cologne; the Van Abbe museum, Eindhoven; and the Art Gallery of Ontario, Toronto, among many other institutions around the world.
In 2013, the Whitney Museum of American Art hosted the artist’s first New York retrospective, Robert Indiana: Beyond LOVE, curated by Barbara Haskell. Indiana passed away in his home in Vinalhaven, Maine, on May 19, 2018, just a few weeks before the opening of his sculpture retrospective at the Buffalo AKG Art Museum, New York (then Albright-Knox Art Gallery). Important posthumous one-artist exhibitions include, Love & Peace: A Robert Indiana Memorial Exhibition, Contemporary Art Foundation, Tokyo (2018); Robert Indiana: A Legacy of Love, McNay Art Museum, San Antonio, Texas (2020); Robert Indiana: Sculpture 1958-2018, Yorkshire Sculpture Park, West Bretton, United Kingdom (2022); Robert Indiana at Rockefeller Center, Rockefeller Center, New York (2023); and Robert Indiana: The Sweet Mystery, Procuratie Vecchie, Venice (2024), among others.
Established in 2022, The Robert Indiana Legacy Initiative aims to increase awareness of and appreciation for the depth and breadth of the work of Robert Indiana and is the leading entity dedicated to the advancement of the artist’s work. Represented worldwide by Pace Gallery, The Robert Indiana Legacy Initiative also manages the website www.robertindiana.com and is responsible for The Robert Indiana Catalogue Raisonné, which is now available online www.ricatalogueraisonne.org.
For more information about this exhibition and others, please visit the Pace Gallery’s website here. Pace Gallery can be found on Instagram and Artsy, too
The Ability to Dream
José Mesías,S.T. (Trinos por altoparlantes), de la serie La sociedad de los pájaros extraños,2025, car, speakers, CD, audio player, Courtesy: the artist and GALLERIA CONTINUA, Photo: José Mesías.
Ten years ago, GALLERIA CONTINUA became the first international contemporary art gallery to establish a permanent presence in Cuba. A decade later, the gallery celebrates this pioneering chapter with La Capacidad de Soñar / The Ability to Dream, a major group exhibition featuring 40 Cuban artists. The anniversary program will extend throughout the month of May with performances, events, and artistic encounters that will highlight the richness and dynamism of Cuba’s contemporary scene.
Carlos Garaicoa, Dolor Duelo, 2010- 2020. Photo by Carlos Garaicoa. Courtesy: the artist and GALLERIA CONTINUA
This celebration in Havana follows the 15th anniversary of the gallery’s Beijing space earlier this year, and precedes the 35th anniversary of its founding site in San Gimignano this September — which will be marked by solo exhibitions by Yoan Capote and Alicja Kwade, alongside a collective show.
Together, these milestones reflect GALLERIA CONTINUA’s role as a forerunner in creating global, destination-based art spaces, and its enduring commitment to building bridges across cultures and ages through contemporary art, often venturing beyond the conventional tracks of the art scene.
The Ability To Dream’ 2025, exhibition, GALLERIA CONTINUA / Habana, Photo: Linet Sánchez.
“The driving ideal behind our gallery is that art, like the wind, should not be stopped by borders. If this were just a statement or a general principle, we wouldn’t have settled in Cuba. The kind of work that defines GALLERIA CONTINUA – both on and off the island – is participatory, inclusive, generous, and extraordinary in its love for art and its commitment to overcoming boundaries. These are values we have found, cherished, and shared with the Cuban people.”
A standout moment in GALLERIA CONTINUA’s history in Cuba took place on December 16, 2014, when artist Michelangelo Pistoletto enacted his iconic symbol of the Third Paradise on the sea off the coast of Havana. The performance, organized in collaboration with curator Laura Salas Redondo, the artist Kcho and the fishermen of Havana, was a poetic gesture symbolizing renewal and balance between nature and society. Remarkably, the very next day, on December 17, 2014, the governments of Cuba and the United States announced the historic resumption of diplomatic relations after more than five decades of tension. This powerful coincidence underscored the gallery’s commitment to fostering dialogue through contemporary art and confirmed the necessity of establishing a long-term presence in Cuba to continue promoting cross-cultural understanding and engagement.
Michel Pérez Pollo -Pascale Marthine Tayou, 'Vidas Paralelas' 2022, exhibition view Galleria Continua / Habana. Photo by Nestor Kim. Courtesy: the artists and GALLERIA CONTINUA
During the 12th Havana Biennial (May 2015), GALLERIA CONTINUA took over the Águila de Oro, a former 1940s cinema located in the heart of Havana’s Chinatown, to present Perimetro, a site-specific artwork by Daniel Buren. Later that year GALLERIA CONTINUA formalized its presence in Cuba in that same space under the name Arte CONTINUA Habana. The first exhibition, Anclados en el Territorio , opened on November 27, 2015, and featured six Cuban artists, Alejandro Campins, Elizabet Cerviño, Carlos Garaicoa, Susana Pilar, Reynier Leyva Novo and José Yaque. Each artist explored and responded to the site’s layered history— its architecture, its past as a cinema, its location in Chinatown, and its broader Cuban context—through new commissions and research- based artistic interventions.
By transforming this historic site into a hub for contemporary art, GALLERIA CONTINUA reaffirmed its mission to bridge culturallegacies – as it has done across its eight spaces worldwide – fostering a dialogue between Cuba’s rich cultural heritage and its evolving artistic landscape.
For ten years, GALLERIA CONTINUA has played a significant role in introducing Cuban artists to international audiences and bringing global artists to Cuba. Notable highlights from 2016 include Anish Kapoor’s solo exhibition at the gallery space, Michelangelo Pistoletto’s major solo show at Museo Nacional de Bellas Artes and an exhibition by Jannis Kounellis at the Wifredo Lam Contemporary Art Centre. From this time, Arte CONTINUA Habana has hosted numerous significant exhibitions, enriching a common vision between Cuban and international artists including Chen Zhen, Hans Op de Beeck, Zhanna Kadyrova, Jorge Macchi, Pascale Marthine Tayou, and Julio Le Parc, among others - alongside a vibrant community of talented Cuban artists whom we are now proud to celebrate.
Alejandro González, Cuba año cero, 2009-2012Photo by Alejandro González Courtesy: the artist and GALLERIA CONTINUA
The gallery represents a number of Cuban artists, beginning with Carlos Garaicoa, who has played a pivotal role in fostering cultural exchange through his Artista x Artista program, which facilitates residencies and cultural exchanges between Cuban and international artists. Over time, the gallery has expanded its local roster to include artists who have achieved worldwide recognition, such as Alejandro Campins, Yoan Capote, Iván Capote, Elizabet Cerviño, Osvaldo González, José Mesías, Luis López-Chávez, Susana Pilar, and José Yaque.
Beyond exhibitions, GALLERIA CONTINUA also worked extensively in public spaces with projects such as Daniel Buren’s Promenades à La Havane — a series of site-specific interventions installed on doors and throughout the streets of the city — and JR’s GIANTS, Alain an ephemeral public installation, which transformed the side wall of the gallery into a vibrant work of art during 13th Havana Biennial (April 2019). The gallery also promotes educational initiatives, offering workshops, conferences, and performances that engage both local and international communities. These programs aim to use art as a non-verbal language to bridge cultural divides and foster intercultural understanding.
To celebrate its enduring presence and deep commitment to Cuba, GALLERIA CONTINUA presents The Ability to Dream (La Capacidad de Soñar), a group exhibition marking the 10thanniversary of its Havana space. The show brings together 40 Cuban artists—emerging and established, from both on and off the island— with whom the gallery has collaborated over the past decade. The exhibition continues a narrative developed across the gallery’ spaces around the world through various chapters of The Ability to Dream.
The show will feature the work of Juan Carlos Alom, Balada Tropical, Abel Barroso, Alejandro Campins, Yoan Capote, Iván Capote, Celia & Yunior, Laura Carralero, Yaima Carrazana, Elizabet Cerviño, Gabriel Cisneros, Ariamna Contino, Raúl Cordero, Arlés del Río, Susana Pilar Delahante, Jenny Feal, Leandro Feal, Joaquín Ferrer, Diana Fonseca, Carlos Garaicoa, Rocío García, Flavio Garciandía, Alejandro González, Osvaldo González, Álex Hernández, Orestes Hernández, Reynier Leyva Novo, Luis López Chávez, Carlos Martiel, Yornel Martínez, José Mesías, Yanelis Mora, Michel Pérez Pollo, Eduardo Ponjuán, Wilfredo Prieto, Ángel Ricardo Ríos, René Francisco Rodríguez, Lázaro Saavedra and José Yaque.
About the gallery:
Founded in 1990 in San Gimignano, Italy, GALLERIA CONTINUA has expanded its locations to Beijing, Les Moulins, Havana, São Paulo, Rome and Paris. Remaining faithful to the spirit of perpetual evolution, and committed to engaging the widest possible audiences in contemporary art, GALLERIA CONTINUA has built a strong identity through its bonds and experiences, thriving away from the conventional urban centres, in completely unexpected yet timeless locations. The gallery inaugurated its permanent space in Havana, in Aguila de Oro, a cinema theater from the ‘50s at the heart of Havana’s Chinatown, in November 2015.
The exhibition opened with a reception on May 17, from 11:30 am to 7:00 pm. The exhibition will run through July 19, 2025. For more information about this exhibition and others at Galleria Continua, please visit their site here. Galleria Continua can also be found on Instagram, Facebook, TikTok, YouTube, and Artsy.
Richard Learoyd with ceramicist Frances Palmer
RICHARD LEAROYD Untitled Flowers (Day I), 2025 camera obscura Ilfochrome photograph © Richard Learoyd, courtesy Fraenkel Gallery, San Francisco
Fraenkel Gallery is pleased to present an exhibition of new and recent photographs by Richard Learoyd. Exploring classical subjects using exacting photographic techniques, Learoyd creates hyper-detailed works with enigmatic depths. Highlights include new studies of ancient trees printed on gessoed canvas and largescale views of the Grand Canyon. The show also features new still lifes, and marks the debut of photographs Learoyd made in collaboration with renowned ceramicist Frances Palmer. For the exhibition, Palmer created vessels based on drawings made by Learoyd, who in turn photographed the ceramics in his studio, overflowing with flowers in a reconsideration of Rococo styles. A public reception with Learoyd and Palmer will take place on Saturday, May 31, from 2-4pm, with a conversation between the artists at 2:30pm. During the opening, Palmer’s ceramic vases will feature arrangements by floral artist Morvarid Mossavar of La Lavande Floral Studio.
At the center of the exhibition are three monumental landscapes set in the English countryside, each depicting a massive, bare-branched tree. On view for the first time, the works are made using a process combining multiple layers of pigment printed onto hand-gessoed canvas. In each, a section of canvas is left raw, highlighting the differences in texture between materials and complicating the relationship between surface and photographic image. In part, the images draw inspiration from the work of 19th-century artists William Henry Fox Talbot, inventor of the salted paper and calotype processes, and English Romantic landscape painter John Constable, whose pencil sketches of willow trees have been a longtime interest of Learoyd’s.
RICHARD LEAROYD Last Light, 2023 chromogenic contact print © Richard Learoyd, courtesy Fraenkel Gallery, San Francisco
Learoyd takes a different approach to landscape in two color photographs made at Grand Canyon National Park in Arizona. “The Grand Canyon is of such a monumental scale it defies framing or pictorial selection,” Learoyd has noted. Undaunted, he brought his outsized, hand-built camera obscura to the park’s South rim and photographed into the last light of the day. The process yielded enormous negatives, measuring nearly 4 x 6 feet, from which he created highly detailed contact prints. The resulting photographs capture the vastness of the scene and the stark, muted colors of the landscape.
The exhibition also features work made in Learoyd’s London studio. Still lifes depict red, pink, and white poppies with vibrant or fading petals, and other natural elements. Often drawing on themes from Dutch Golden Age painting, the photographs capture the subtle sheen and iridescence of feathers or flowers, a focus on optical qualities also found in memento mori paintings. Precisely transcribing the various ways that light falls onto natural materials, Learoyd’s photographs emphasize the ambiguity between dead and living things and often refer back to the act of seeing. Some works include vintage glass eyeballs hidden among the stems of poppies, creating the unsettling suggestion that the viewer is in turn being watched.
RICHARD LEAROYD Untitled Flowers (Day 2), 2025 camera obscura Ilfochrome photograph © Richard Learoyd, courtesy Fraenkel Gallery, San Francisco
For works made in collaboration with Frances Palmer, Learoyd photographed lavish arrangements of tulips and other flowers housed in the ceramic vessel Palmer created from his sketches. In Learoyd’s photographs, flowers seem to erupt and tumble out of the white base. “Based on [Learoyd’s] measurements, I made the pieces in both a translucent bisque porcelain and low-fire earthenware with a matte white glaze so that he could choose which texture would work best for the photograph,” Palmer writes. These vessels will be on view along with the photographs and a selection of other ceramics made by Palmer for the show. “Continuing with these ideas, I have made additional pieces in both clay bodies, thinking about how my pots will have a conversation with Richard’s work in the gallery.”
RICHARD LEAROYD Untitled Flowers (Day 3), 2025 camera obscura Ilfochrome photograph © Richard Learoyd, courtesy Fraenkel Gallery, San Francisco
RICHARD LEAROYD Tree near Lacock, 2025 multi-layered pigment print, hand-applied gesso on canvas © Richard Learoyd, courtesy Fraenkel Gallery, San Francisco
Richard Learoyd has been featured in solo exhibitions including The Silence of the Camera Obscura, a 2019 show at Fundación MAPFRE in Barcelona that traveled to Fotomuseum den Haag in the Netherlands. Other exhibition highlights include a solo show at the J. Paul Getty Museum in Los Angeles, which traveled to the Nelson-Atkins Museum of Art in Kansas City, Missouri, and Dark Mirror, which took place at the Victoria & Albert Museum in London. Learoyd’s photographs are in the collections of the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; San Francisco Museum of Modern Art; J. Paul Getty Museum, Los Angeles; Centre Pompidou, Paris; Tate, London; Victoria & Albert Museum, London; National Gallery of Canada, Ottawa; and Yale University Art Gallery, New Haven, among others. A self-titled monograph was published in 2019 in connection with his Fundación MAPFRE exhibition, and Day for Night, a collection of portraits and still lifes, was published by Aperture in 2015.
A celebrated author, ceramist, gardener, and photographer, Frances Palmer trained as an art historian at Columbia University and for the past 38 years, has focused on the process of changing ideas into form in her functional work—handmade ceramics. Her work is represented in leading private craft and contemporary art collections around the world and has been exhibited and sold internationally including at Fotografiska, Neue Galerie, Object & Thing, and Wave Hill. Palmer has been featured in publications such as House & Garden, Neptune Papers, Vogue, and The World of Interiors. Her first book, Life in the Studio: Inspiration and Lessons on Creativity was published by Artisan in 2020. Her second book, Life with Flowers: Inspiration and Lessons from the Garden, is dedicated to the subject of flowers in her work and will be published in May 2025.
The exhibition opened on May 29th and will be on view until August 9, 2025. For more information about the exhibition, artists represented by the gallery, and other exhibitions, please visit the Fraenkel Gallery’s website..
PIERRE HUYGHE: In Imaginal
Pierre Huyghe Annlee – UUmwelt, 2018-2024 Deep image reconstruction, generated in real time, face recognition, sensors, brain wave sound Installation view, In Imaginal, Marian Goodman Gallery, New York, 2025 Courtesy of the artist and Marian Goodman Gallery Photo credit: Alex Yudzon
Marian Goodman New York is very pleased to announce an upcoming exhibition of Pierre Huyghe which opened on 6 May 2025. This will be the U.S. premiere of a selection of works seen in the groundbreaking exhibition Liminal at Punta della Dogana – Pinault Collection, Venice last year and now on view at Leeum Museum of Art in Seoul, Korea, through July.
Huyghe conceives exhibitions as fictions from which other modalities of reality, possible worlds and time could emerge, where subjectivities are formed, interact, learn, and evolve. His insightful exploration into a multidimensional and migrating self has been realized through a diverse array of dynamic works, including moving images, sound, living organisms, machine learning, and more. Over the past decade, Huyghe has questioned the relation between human and non-human, as well as the experience of time.
In the current exhibition, Huyghe explores the liminal state in which the human is radically de-centered, and an untamable inhuman or alternate subjectivity enables spectral conditions. These works continue his narrative and metaphysical approach to existence, seeking empathy with the impossible, listening to otherworlds. Opening a dialogue with a chimeric creature of his own making on how it may experience life, Huyghe reflects on our own constructs as hybrid creatures.
Pierre Huyghe Camata, 2024 Robotics driven by machine learning, self-directed film, edited in real time by self-learning algorithms, sound, sensors Installation view, In Imaginal, Marian Goodman Gallery, New York, 2025 Courtesy of the artist and Marian Goodman Gallery Photo credit: Alex Yudzon
The works and the exhibition, interwoven, are entities in endless motion, propagative, generative and responsive to imperceptible environments and to themselves, accepting uncertainty and contradiction. They escape known hierarchies of human constitution as a locus for subjectivity.
In the ground floor gallery, Annlee – UUmwelt, 2018-24, features mental images produced by a brain-computer interface as a person imagines Annlee – a fictional anime character whose voice opens No Ghost Just a Shell, 2000, an empty image calling for collective imagination to give her life. Becoming a mediated avatar of her former self in Annlee – UUmwelt, Annlee’s mental images and voices are affected by the environment which includes the physical presence of humans.
In the back of the transparent screen, are Mind’s Eye, 2021, comprised of three materialized artefacts of deep image reconstruction. Extracted from a person’s mind, they are mental images from Annlee – UUmwelt, 2018-24 and UUmwelt, 2018, aggregates of synthetic and biological matter.
Pierre Huyghe Mind's Eye (M), 2021 Materialized deep image reconstruction, synthetic and biological material aggregate 51 1/8 x 40 1/8 x 30 1/4 in. (130 x 102 x 77 cm) Installation view, In Imaginal, Marian Goodman Gallery, New York, 2025 Courtesy of the artist and Marian Goodman Gallery Photo credit: Alex Yudzon
In the adjacent room, Cosmoseeded, an embryonic form in a pod, adrift in space, is a previous work repurposed as a sign for a collaboration, set to unfold in the coming year. Since 2012, Ali Brivanlou, Head of the Laboratory of Stem Cell Biology and Synthetic Embryology at The Rockefeller University, and Huyghe have engaged in conversations on projects which include making human feathers, developing temporal chimeras, or a brain organoid made from cells of various humans. In their latest discussion, Brivanlou introduced a groundbreaking idea, which Huyghe began to expand upon, imagining the universe as an agriculture field where a human synthetic embryo is propagated, as seeds to grow us anew.
On the second floor are mumblings, at times a chorus. Idiom (2024) are membranes sensitive to another world that vocalize an enigmatic presence through an unknown and ineffable language, learned in real-time, throughout the exhibition. Idiom is a community of masks. As voices flow through them, together they become a quasi-subject, attempting to exist here and now. Over time, as they wander in space and collect imperceptible information, a language is invented, carrying with it the specters of past exhibitions.
The adjacent space features Camata, 2024, a self-directed film operated by a learning machine, a manifestation of an inhuman entity enacted upon by a set of robotic operators, performing a final rite of passage on a human skeleton found unburied in the Atacama Desert. As this enigmatic ritual unfolds live in front of us, we witness a transactional operation between a bodyless entity and a lifeless human body, a passage of life, a reincarnation. Camata’s live footage is the result of autonomous cameras decisions and is edited in real time. Sensors in the exhibition space capture a live human presence, disrupting its linearity.
Pierre Huyghe Idiom, 2024 Real time voice generated by Artificial Intelligence, golden LED screen masks Installation view, In Imaginal, Marian Goodman Gallery, New York, 2025 Courtesy of the artist and Marian Goodman Gallery Photo credit: Alex Yudzon
Recent exhibitions include Liminal, Leeum Museum of Art, Seoul, South Korea (2025); Liminal, Punta della Dogana – Pinault Collection, Venice (2024); Chimeras, EMMA Espoo Museum of Modern Art, Finland (2023), Pierre Huyghe, Bourse de Commerce – Pinault Collection, Paris (2023); Variants, Kistefos Museum, Jevnaker (2022), After UUmwelt, Luma Foundation, Arles (2021); UUmwelt, Serpentine Gallery, London (2018); The Roof Garden, Metropolitan Museum, New York (2015). In 2012 -2014, a major retrospective of Huyghe’s work traveled from the Centre Pompidou (France) to the Ludwig Museum (Germany) and to Los Angeles County Museum of Art (USA).
Huyghe has been the recipient of numerous awards including Grand Prix de la Fondation Simone et Cino Del Duca (2024); the Nasher Sculpture Prize (2017); the Kurt Schwitters Prize (2015); Roswitha Haftmann Preis Award (2013); the Smithsonian American Museum's Contemporary Artist Award (2010); the Hugo Boss Prize, Guggenheim Museum, New York (2002), and DAAD artist in residency, Berlin (1999-2000), amongst others.
Pierre Huyghe In Imaginal opened on 6 May and will be on view until 21 June 2025 at the Tribeca Gallery location at 385 Broadway, New York, NY 10013. For more information about the exhibit, please visit the Marian Goodman Gallery’s site. The gallery can be found on Instagram and Artsy, too.
JAPONISME → Cognitive Revolution: Learning from Hiroshige
TAKASHI MURAKAMI JAPONISME → Cognitive Revolution: Learning from Hiroshige, 2025, installation view Artwork © 2024–2025 Takashi Murakami/Kaikai Kiki Co., Ltd. All rights reserved Photo: Thomas Barratt Courtesy Gagosian
“In this exhibition I’m engaging in an artistic variety of backcrossing, the process by which one generation is made by crossing two different varieties, and in subsequent generations, one of the parent varieties is crossed back with the offspring.”
TAKASHI MURAKAMI Hiroshige’s 100 Famous Views of Edo: Japonisme Reconsidered—Plum Garden, Kamata, 2024–25 Acrylic on canvas mounted on aluminum frame 137 7/8 x 89 5/8 inches (350 x 227.5 cm) © 2024–2025 Takashi Murakami/Kaikai Kiki Co., Ltd. All rights reserved Photo: Kei Okano Courtesy the artist and Gagosian
NEW YORK,—Gagosian is pleased to announce JAPONISME → Cognitive Revolution: Learning from Hiroshige, an exhibition of new and recent works by Takashi Murakami at 522 West 21st Street, New York. Extending Murakami’s interest in the copy—a theme he also explored in Mononoke Kyoto at the Kyoto City Kyocera Museum of Art and Japanese Art History à la Takashi Murakami at Gagosian London (both 2024)—the exhibition juxtaposes the artist’s reworkings of prints by Utagawa Hiroshige (1797–1858) with those of paintings by artists identified with the nineteenth-century tendency known as Japonisme.
TAKASHI MURAKAMI Hiroshige’s 100 Famous Views of Edo: Japonisme Reconsidered—Ichigaya Hachiman Shrine, 2024–25 Acrylic on canvas mounted on aluminum frame 14 1/2 x 9 1/2 inches (36.8 x 23.9 cm) © 2024–2025 Takashi Murakami/Kaikai Kiki Co., Ltd. All rights reserved Photo: Kei Okano Courtesy the artist and Gagosian
On view are 121 canvases that Murakami produced in response to Hiroshige’s series of ukiyo-e prints 100 Famous Views of Edo (1856–58), which captures life in a city on the precipice of change. Murakami’s interpretations, to which he has added elements of other ukiyo-e works alongside his own characters, were first shown alongside the historical prints at the Brooklyn Museum in 2024 and prompt consideration of Hiroshige’s influential worldview.
TAKASHI MURAKAMI Hiroshige’s 100 Famous Views of Edo: Japonisme Reconsidered—Asakusa Ricefields and Torinomachi Festival, 2024–25 Acrylic on canvas mounted on aluminum frame 39 3/8 x 25 5/8 inches (100 x 65 cm) © 2024–2025 Takashi Murakami/Kaikai Kiki Co., Ltd. All rights reserved Photo: Kei Okano Courtesy the artist and Gagosian
Also featured are Murakami’s new reworkings of European Impressionist and Post-Impressionist paintings that were also inspired by Japanese originals in the context of Japonisme, a movement in European art and design sparked by the reopening of Japan to global trade in 1853. The term, likely coined by critic Philippe Burty in 1872, denotes an aesthetic rediscovery that profoundly affected modern painting. Many Impressionist and Post-Impressionist artists were exposed to Japanese woodblock prints at the 1867 Paris Exposition Universelle. Struck by the works’ combination of realist subject matter with pictorial flatness, asymmetrical composition, and brilliant color, they began to explore related styles in their own painting. As a Japanese artist, Murakami reclaims these images to bring the process of influence full circle.
TAKASHI MURAKAMI Hiroshige’s 100 Famous Views of Edo: Japonisme Reconsidered—Kinryūzan Temple, Asakusa, 2024–25 Acrylic on canvas mounted on aluminum frame 137 7/8 x 89 5/8 inches (350 x 227.5 cm) © 2024–2025 Takashi Murakami/Kaikai Kiki Co., Ltd. All rights reserved Photo: Kei Okano Courtesy the artist and Gagosian
Among the works that Murakami interprets—alongside those of Hiroshige, Katsushika Hokusai, Hishikawa Morofusa, and Kitagawa Utamaro—is James McNeill Whistler’s Nocturne: Blue and Gold – Old Battersea Bridge (c. 1872–75). This image echoes the nocturnal subject and boldly cropped composition of Hiroshige’s Bamboo Yards, Kyobashi Bridge (1857); the flat color found in woodblock prints may also have prompted its restricted palette and simplified forms. Reportedly, Whistler discovered Japanese prints in a Chinese tearoom in London, an encounter whose cross- cultural essence encapsulates the initial emergence of Japonisme and its fascination to Murakami. Finally, several new paintings reflect on the origin of the French luxury fashion house Louis Vuitton’s logo in the traditional Japanese family crest or kamon, and its Damier (checkerboard) design in the Japanese Ichimatsu pattern.
TAKASHI MURAKAMI Hiroshige’s 100 Famous Views of Edo: Japonisme Reconsidered—Suidō Bridge and Surugadai, 2024–25 Acrylic on canvas mounted on aluminum frame 137 7/8 x 89 5/8 inches (350 x 227.5 cm) © 2024–2025 Takashi Murakami/Kaikai Kiki Co., Ltd. All rights reserved Photo: Kei Okano Courtesy the artist and Gagosian
An expanded version of Takashi Murakami: Stepping on the Tail of a Rainbow, a major exhibition that originated at The Broad, Los Angeles, in 2022, is on view at the Cleveland Museum of Art from May 25 to September 7, 2025.
JAPONISME → Cognitive Revolution: Learning from Hiroshige is the latest exhibition by Takashi Murakami.. The exhibition opened on May 8 with an opening reception that was held from 6 to 8 pm. The exhibition will close on July 11, 2025, and is at the Gagosian, New York location at 522 West 21st Street, New York. For Takashi Murakami’s biographical information and exhibition history, please visit here. For more information about the artists represented by Gagosian and other exhibitions at the gallery, please visit the gallery’s site here. The gallery can also be found on Pinterest, X, YouTube, Facebook, Instagram, and Artsy.For Takashi Murakami’s biographical information and exhibition history, please visit gagosian.com.
Picasso: Tête-à-tête
PABLO PICASSO Portrait de Femme (Marie-Thérèse), 1936 Pencil, watercolor, and pastel on paper 13 3/8 x 10 1/8 inches (34 x 25.5 cm) © 2025 Estate of Pablo Picasso / Artists Rights Society (ARS), New York Photo: Sandra Pointet Courtesy Gagosian
“You see me here, and yet I’ve already changed, I’m already elsewhere.”
PABLO PICASSO Portrait de Femme au Béret Rouge (Marie-Thérèse), 1937 Oil on canvas 13 3/4 x 10 5/8 inches (35 x 27 cm) © 2025 Estate of Pablo Picasso / Artists Rights Society (ARS), New York Photo: Sandra Pointet Courtesy Gagosian
NEW YORK,—Gagosian is pleased to announce Picasso: Tête-à-tête, presented in partnership with the artist’s daughter Paloma Picasso. Offering a unique opportunity to view over fifty rarely seen paintings, sculptures, and drawings from the full span of the artist’s career—1896 to 1972—the exhibition will include nearly a dozen works that are being exhibited publicly for the very first time and others that have not been shown for decades. Drawn largely from Picasso’s estate,
PABLO PICASSO Tête de Femme, 1957 Cut and painted sheet metal 32 3/8 x 13 x 18 1/8 inches (82 x 33 x 46 cm) © 2025 Estate of Pablo Picasso / Artists Rights Society (ARS), New York Photo: Sandra Pointet Courtesy Gagosian
Picasso: Tête-à-tête opened on April 18 and is the final exhibition to be held at Gagosian’s flagship 980 Madison Avenue gallery. Gagosian and Paloma Picasso to Present Picasso: Tête-à-tête in New York Featuring Works from the Artist’s Estate, Including Several Never Before Exhibited. More than Fifty Paintings, Sculptures, and Drawings from 1896 to 1972 Will Be on View Beginning April 18, 2025
PABLO PICASSO Femme au Béret Bleu Assise dans un Fauteuil Gris, Manches Rouges (Marie-Thérèse), 1937 Oil on canvas 39 3/8 x 31 1/2 inches (100 x 80 cm) © 2025 Estate of Pablo Picasso / Artists Rights Society (ARS), New York Photo: Sandra Pointet Courtesy Gagosian
“I have been fortunate to present more than twenty exhibitions dedicated to Pablo Picasso throughout my career, and it seems only fitting that a blockbuster show of the artist’s work should close out our time at 980 Madison. It is incredibly exciting to partner with Paloma on her first major international exhibition, and to bring to light so many works that have never been shown before..”
PABLO PICASSO Picasso: Tête-à-tête, 2025, installation view Artwork © 2025 Estate of Pablo Picasso / Artists Rights Society (ARS), New York Photo: Owen Conway Courtesy Gagosian
“I was delighted when Larry suggested we work together on a significant exhibition. Showing my father’s work as he wanted it to be seen—in conversation across subjects and periods—is a fitting tribute to his legacy. A number of the works we selected haven’t been seen since my father had them in his studio and to have them reunited with important examples from other collections will be a very special event.”
PABLO PICASSO Femme au Vase de Houx (Marie-Thérèse), 1937 Oil and charcoal on canvas 28 3/4 x 23 5/8 inches (73 x 60 cm) © 2025 Estate of Pablo Picasso / Artists Rights Society (ARS), New York Photo: Sandra Pointet Courtesy Gagosian
Records exist of two exhibitions that Picasso installed himself, the first being his 1932 retrospective at Galeries Georges Petit, Paris. On that occasion, rather than attempting to prove an academic thesis or arrange a strictly chronological presentation, he hung works of different eras and styles together, facilitating a conversation between them. In the same spirit, Picasso: Tête-à-tête juxtaposes paintings, sculptures, and drawings by the protean artist, encouraging viewers to discover new personal connections and continuities. The exhibition will include masterpieces from Picasso’s own collection, alongside works from other prominent sources. Gagosian is publishing a fully illustrated catalogue of the exhibition featuring a conversation between Paloma Picasso and artist Peter Doig. A translation of a contemporaneous article by Eric Tériade on Picasso’s 1932 Paris installation is also included.
PABLO PICASSO Tête de femme bleu, 1948–49 Terra-cotta 14 5/8 x 9 1/2 x 11 7/8 inches (37 x 24 x 30 cm) © 2025 Estate of Pablo Picasso / Artists Rights Society (ARS), New York Photo: Sandra Pointet Courtesy Gagosian
Picasso: Tête-a-tête, in collaboration with Paloma Picasso, opened on April 18th and will be on view until July 3, 2025, at the Gagosian, New York location at 980 Madison Avenue, New York. For Pablo Picasso’s biographical information and exhibition history, please visit here. More information about the artists represented by Gagosian and other exhibitions at the gallery, please visit the gallery’s site here. The gallery can also be found on Pinterest, X, YouTube, Facebook, Instagram, and Artsy.
Willem de Kooning: Endless Painting
NEW YORK, A—Gagosian is pleased to present Willem de Kooning: Endless Painting, which opened on April 15 at 555 West 24th Street. The exhibition is organized with the support of The Willem de Kooning Foundation and curated by Cecilia Alemani, director and chief curator of High Line Art. It comprises paintings dating from 1944 through 1986 and two sculptures: Clamdigger (1972), and the monumental Standing Figure (1969–84). This will be the first presentation at the newly renovated Chelsea gallery and follows Willem de Kooning and Italy, a significant presentation of paintings, sculptures, and drawings at the Gallerie dell’Accademia in Venice last summer.
WILLEM DE KOONING Woman as Landscape, 1954-1955 Oil and charcoal on canvas 65 1/2 x 49 3/8 inches (166.3 x 125.4 cm) © 2025 The Willem de Kooning Foundation/Artists Rights Society (ARS), New York Photo: Maris Hutchinson Courtesy Gagosian
A pioneering figure of the postwar era, de Kooning probed the expressive potential of color, line, and space and continuously challenged the boundaries between figuration and abstraction. Through the considered placement of late paintings including Untitled V (1982), on loan from the Museumof Modern Art, New York, and Untitled XIX (1984) among works of the preceding decades, the exhibition foregrounds visual motifs that recurred throughout de Kooning’s career. This arrangement reflects Alemani’s close investigation of the 1980s paintings through which she identified an expansive repertoire of human forms—elbows, knees, mouths, eyes—that can be traced as far back as the artist’s works of the 1930s and 1940s that drew on Cubism and Surrealism.
WILLEM DE KOONING Suburb in Havana, 1958 Oil on canvas 80 1/4 x 70 3/8 inches (203.8 x 178.8 cm) © 2025 The Willem de Kooning Foundation/Artists Rights Society (ARS), New York Photo: Owen Conway Courtesy Gagosian
In Montauk II (1969), flesh-toned biomorphic shapes dance in and out of focus, while profiles and limbs appear amid the slippery brushstrokes of . . . Whose Name Was Writ in Water (1975), on loan from the Solomon R. Guggenheim Museum, New York. In Untitled XIV (1986), the exhibition’s latest work, undulating arms extend energetically across the canvas, mirroring the outspread limbs of Standing Figure, a monumental bronze sculpture on view indoors for the first time in nearly three decades.
WILLEM DE KOONING Untitled X, 1985 Oil on canvas 70 x 80 inches (177.8 x 203.2 cm) © 2025 The Willem de Kooning Foundation/Artists Rights Society (ARS), New York Photo: Maris Hutchinson Courtesy Gagosian
De Kooning often reworked his canvases, reincorporating passages from earlier compositions by tracing shapes he wanted to preserve onto vellum, and even changing their orientation multiple times during their gestation. It was through revisiting and revising his compositions that he developed a consistent but flexible vocabulary of colors and gestures rooted in figuration. “A restless explorer of the canvas, de Kooning never stopped interrogating the possibilities of what painting could be,” Alemani notes. “As a curator, it is deeply rewarding to grapple with the constant process of artistic reinvention and self-interrogation that animates his creative trajectory, especially through closer examination of his late works.” The exhibition’s title, Endless Painting, references this enduring, ever-evolving visual language and the artist’s professed decision to “just stop” rather than formally finish paintings, perhaps seeking a more expansive definition of the medium itself.
WILLEM DE KOONING Untitled XIX, 1984 Oil on canvas 80 x 70 inches (203.2 x 177.8 cm) © 2025 The Willem de Kooning Foundation/Artists Rights Society (ARS), New York Photo: Maris Hutchinson Courtesy Gagosian
Endless Painting is the sixth solo exhibition of de Kooning’s work presented by Gagosian, with the first organized in 1987. It is accompanied by a fully illustrated catalogue featuring essays by Cecilia Alemani and John Elderfield, curator of de Kooning: A Retrospective at the Museum of Modern Art,New York (2011–12). On May 15, Alemani will moderate a conversation exploring the continued impact of de Kooning’s paintings and working methods on artists today.
WILLEM DE KOONING Montauk II, 1969 Oil on paper mounted on canvas 72 1/2 x 70 1/4 inches (184.2 x 178.4 cm) © 2025 The Willem de Kooning Foundation/Artists Rights Society (ARS), New York Photo: Maris Hutchinson Courtesy Gagosian
#WillemdeKooning
Cecilia Alemani curated Endless Painting. There was an opening reception: Tuesday, April 15, 6–8 pm The exhibition opened on April 15 and will run until June 14, 2025, at the 555 West 24th Street, New York location. For Willem de Kooning’s biographical information and exhibition history, please visit here. For more information about the artists represented by Gagosian and other exhibitions at the gallery, please visit the gallery’s site here. The gallery can also be found on Pinterest, X, YouTube, Facebook, Instagram, and Artsy.
Failure as Fuel: On Berbrain’s Embrace of the Uncertain
Installation View: Failure as Fuel: On Berbrain’s Embrace of the Uncertain, 26 April - 1 June 2025, Tang Contemporary Art Bangkok Photo Courtesy of Tang Contemporary Art Bangkok
Tang Contemporary Art proudly presents Berbrain's first solo exhibition in Bangkok, Failure as Fuel: On Berbrain's Embrace of the Uncertain. Working primarily with oil, pigment sticks, solid markers, and spray on canvas, Berbrain constructs fragmented, open-ended narratives that privilege process over resolution. His works function not as definitive statements, but as moments suspended within an ongoing, evolving story. By capturing scenes that resemble the aftermath or midpoint of a battlefield, Berbrain leaves viewers questioning: what happened? What's next? Has something failed, or succeeded? The artist refuses to offer clear outcomes, instead inviting the audience to participate in redefining what success or failure might mean.
anctuary of Dreams | 200 x 200 cm | Mixed media on canvas | 2025
In a culture that celebrates clarity and completion, failure remains one of the most radical ideas for an artist to explore. We're conditioned to view failure as a fall, a flaw, a deviation from the ideal. But what if failure is not the opposite of success, but its necessary companion? What if that detour is where the real work begins? Berbrain does not treat failure as defeat but frames it as possibility. His practice begins with questions: What does it mean to face fear head-on? What happens when we lean into uncertainty, rather than escape it? His paintings carry the quiet, charged energy of risk—not the dramatic kind that demands attention, but the everyday courage to continue without knowing the outcome.
Installation View: Failure as Fuel: On Berbrain’s Embrace of the Uncertain, 26 April - 1 June 2025, Tang Contemporary Art Bangkok Photo Courtesy of Tang Contemporary Art Bangkok
This exhibition collapses the binary between failure and success. Berbrain's visual language, rich with dreamlike symbols, dynamic gestures, and bodies mid-metamorphosis, suggests that to be alive is to be in flux. Nothing is settled. Every failure carries the seed of a new direction, a new question, a new possibility. Far from a collapse, failure becomes a space of rehearsal, invention, and play. In Berbrain's universe, falling short is a strategy, not a setback. It is in the friction of effort—the slips, the doubts, the internal monsters—that something real takes shape. Fear runs parallel throughout these works, not cast aside or conquered, but absorbed into the process. Fear becomes material: a starting point rather than a stop sign. Whether exploring internal struggles or fantastical worlds where danger and joy intertwine, Berbrain treats fear as a source of momentum rather than paralysis.
Break the Chain (Anything is Possible) | 100 x 100 cm | Mixed media on canvas | 2024
This is not an exhibition about overcoming failure. It's about staying with it long enough to understand what it reveals. It's about embracing the uncertain not in spite of its difficulty, but because of it. Berbrain's work speaks to a shared condition in contemporary life: the demand to appear confident, composed, and perpetually successful. His art cuts through that illusion, creating space for the unspoken—fear of falling, the weight of trying again, and the strength it takes to risk vulnerability in public. The paintings offer not just reflection, but invitation. They suggest that failure might not be something to avoid but something to move toward. That within conscious, wholehearted failure lies a form of freedom that conventional success cannot provide. Berbrain's art offers space: to feel, to question, to fall and get up again. In this, the work does not merely represent failure—it reclaims it.
Courtsey of Artist and Tang Contemporary Art
About the Artist
Bernandi Desanda (Berbrain)
b.1996, Tangerang, Indonesia
Bernandi Desanda or Berbrain was graduated from Indonesian Institute of The Arts, Yogyakarta, Faculty of Design, Department of Visual Communication Design in 2021.
Since 2015, Bernandi has chosen to focus on visual arts, particularly painting. After graduating, Bernandi decided to pursue a career as a full time artist and currently lived in Yogyakarta.
He is also recognized as Berbrain. He is an artist whose creative journey is rooted in imagination, The name "Berbrain" encapsulates the notion of "Bernandi's thoughts," elegantly combining 'Ber' and 'Brain’. An undeniable passion for animals, monsters, and all things uncanny courses through Berbrain's creative veins.
This fervor consistently finds its expression in the art he produces today, a majority of which draws inspiration from these captivating realms. Notably, the enchanting universe of cartoon characters also contributes to the tapestry of his creations. It's within this artistic landscape that Bernandi skillfully weaves together the essence of monsters, animals, and animated personas, breathing life into a symphony of new and captivating species.
About Tang Contemporary Art
Since its founding in Bangkok in 1997, Tang Contemporary Art has opened 8 spaces in Beijing, Hong Kong, Bangkok, Seoul and Singapore to promote the development of experimental art in different regions. In the past 27 years, Tang Contemporary Art has organized groundbreaking exhibitions in its gallery spaces, and also cooperated with important art institutions in China and abroad to accomplish outstanding art projects. The gallery strives to initiate dialogue between artists, curators, collectors and institutions working both locally and internationally. A roster of groundbreaking exhibitions has earned Tang Contemporary Art internationally renowned recognition, establishing its status as a pioneer of the contemporary art scene in Asia.
As one of China’s most influential contemporary art platforms, Tang Contemporary Art maintains a high standard of exhibition programming. Tang Contemporary Art represents or collaborates with leading figures in international contemporary art, including Ai Weiwei, Huang Yongping, Shen Yuan, Zhu Jinshi, Chen Danqing, Liu Qinghe, Liu Xiaodong, Chen Shaoxiong, Wang Yuping, Shen Ling, Shen Liang, Wu Yi, Xia Xiaowan, He Duoling, Mao Xuhui, Wang Huangsheng, Yang Jiechang, Tan Ping, Wang Du，Yan Lei, Yue Minjun, Wang Jianwei, Yangjiang Group, Zheng Guogu, Lin Yilin, Sun Yuan&Peng Yu, Qin Ga, Wang Qingsong, Yin Zhaoyang, Feng Yan, Guo Wei, Chen Wenbo, Ling Jian, Qin Qi, Yang Yong, Peng Wei, He An, Zhao Zhao, Xu Qu, Chen Yujun, Chen Yufan, Xue Feng, Cai Lei, Li Qing, Wang Sishun, Xu Xiaoguo, Lí Wei, Liu Yujia, Wu Wei, Yang Bodu, You Yong, Li Erpeng, Jade Ching-yuk Ng, Michelangelo Pistoletto, Adel Abdessemed, Niki de Saint Phalle, AES+F , Michael Zelehosk, Jonas Burgert, Christian Lemmerz, Michael Kvium, Sakarin Krue-On, Rirkrit Tiravanija, Natee Utarit, Kitti Narod, Gongkan, Entang Wiharso, Heri Dono, Nam June Paik, Park Seungmo, Jae Yong Kim, Diren Lee, Dinh Q. Lê, Rodel Tapaya, Jigger Cruz, Ayka Go, Raffy Napay, H.H.Lim, Etsu Egami, etc.
This exhibition opened on April 26th and ends on June 1st 2025. There was an opening reception on April 26that 4 pm.
For more information about this exhibition and others at Tang Contemporary Art, please visit their site here. The gallery can also be found on Facebook, Artsy, Instagram, anf YouTube.
Jim Shaw: Drawings
JIM SHAW Drawings, 2025, installation view Artwork © Jim Shaw Photo: Maris Hutchinson Courtesy Gagosian
“Whatever it is, the way you tell your story online can make all the difference.”
NEW YORK, Gagosian is pleased to announce an exhibition of drawings by Jim Shaw at Park & 75, New York. Made between 2012 and 2024, the works find the artist continuing his journey through the maelstrom of American society, taking inspiration from such sources as vintage advertisements and borrowing from the aesthetics of comic books and album covers. They feature images of complex forms such as trees and hair; references to popular culture and counterculture; surreal representations of the artist’s dreams; and allusions to bizarre religious cults and political conspiracies.
JIM SHAW Study for "Rinse Cycle", 2012 Gouache on paper 20 x 20 1/2 inches (50.8 x 52.1 cm) © Jim Shaw Photo: Ed Mumford Courtesy Gagosian
In the works on view Shaw details scenarios from the domestic to the fantastical, often combining elements of both. “Most of these drawings,” he explains, “involve nostalgia for advertising images from a period when the single image was staged and fetishized.” Study for “Rinse Cycle” (2012)—one of two works in color in the exhibition—was derived from a 1950s washing machine ad and portrays the wraithlike abstracted forms of clothing dancing around a central agitator.A number of drawings feature trees. Study for “God Didn’t Make the Little Green Apples” (2023) originated in a visit that Shaw made to Kentucky, where he noticed a tree in the same “pose” as 1940s photograph of a woman performing, in the artist’s words, a “Spanish Dance.” Study for “Spinning Man and the Tower” (2023) presents another fusion of human and plant; in this case, the pose of the former is derived from Shaw’s characteristically weird dream image of a man in a church being lifted aloft by an octopus. And images of hair crop up in works such as Study for “Sweater Couple” (2017), which concocts a 1960s-style promotion featuring a man and his Nancy Sinatra–esque partner clad in matching jumpers that finally merge with one another in a wiglike mass of curls.
JIM SHAW Study for "The Bride Stripped Bare", 2016 Pencil on paper 24 x 19 inches (61 x 48.3 cm) © Jim Shaw Photo: Ed Mumford Courtesy Gagosian
Finally, several works see Shaw explore a fascination with the relationship between written language and psychedelic aesthetics. Study for “The Souls of Aliens” (2024), for example, was sparked by a dream in which a cross between one of Edgar Degas’s young dancers and a figure by Dutch painter Jan Toorop appears within a sinuous swirl of lettering.
Jim Shaw, Study for "God Didn't Make the Little Green Apples", 2023, Pencil on paper, 24 x 19 inches (61 x 48.3 cm) © Jim Shaw Photo: Ed Mumford Courtesy Gagosian
The artist was in conversation with Tony Oursler at the gallery on Saturday, May 3, at 3pm. Moderated by Gagosian director Jessica Beck, the conversation will focus on Shaw’s practice of dream drawing and on drawing in general as a consistent aspect of his work, the two artists’ shared interest in spiritual and religious histories and propaganda, and their time as students at CalArts in the late 1970s
For Jim Shaw’s biographical information and exhibition history, please visit here. For more information about the artists represented by Gagosian and other exhibitions at the gallery, please visit the gallery’s site here. The gallery can also be found on Pinterest, X, YouTube, Facebook,Instagram, and Artsy.