Charline von Heyl: The Road to Ruin at The George Economou Collection, Athens →

Charline von Heyl
June 14, 2025 - March 2026 | The George Economou Collection, Athens

Across three floors of gallery space, The Giddy Road to Ruin will feature select works from the last several decades. The earliest is an outstanding painting from the George Economou Collection—an emblematic example of the artist’s practice—Untitled (11/93, I) (1993), while the most recent is her first-ever photographic work, Athens, made in 2024.

Charline von Heyl is one of the most significant painters of her generation. Educated in Germany in the 1980s and inspired by both senior artists and contemporaries—including Martin Kippenberger, Rosemarie Trockel, and Michael Krebber, as well as Albert Oehlen, Jutta Koether, and Cosima von Bonin—her work began to carve out new territory, particularly after her move to New York in 1996. While her paintings share the rigor and intensity of theirs, von Heyl’s work eschews irony in favor of a more openly amused humor and a certain nimbleness in the synthesis of mind and hand.

Charline von Heyl: The Giddy Road to Ruin is co-curated by Adam D. Weinberg and Skarlet Smatana, the director of The George Economou Collection, in close collaboration with the artist. A publication with essays by Weinberg and artist Helen Marten will accompany the exhibition.

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Uta Barth in Split Diopter 2, curated by Jan Tumlir and Reza Monahan, at SCI-Arc Gallery, Los Angeles →

Uta Barth
June 6 - July 20, 2025 | Southern California Institute of Architecture Gallery, Los Angeles

Uta Barth, Field #9, 1995

Split Diopter 2 explores the relationship between fine art and cinema, as well as the impact of technical optics on creative practice. This exhibition disassembles the cinematic apparatus of the “waking dream” into a collection of parts: still frame, action sequence, mise-en-scene, soundtrack, film reel, promotional poster, etc.—each of which is assigned to an individual work of art. Navigating this array of objects in the space of the gallery, viewers are enjoined to imagine their own filmic narrative, while also reflecting on its material means of construction.

Split Diopter 2 features works by Uta Barth, Matthew Brannon, John Divola, Alex Israel, William E. Jones, and Hedi El Kholti. A soundtrack has been composed for the exhibition by Eyvind Kang. Also included is a dance video shot with a split diopter lens, choreographed by Brian Golden and performed by Jas Lin, Madison Ostrach, and Euseon Song. Finally, Split Diopter 2 presents a documentary in which artists Stan Douglas, Lynne Marsh, Patti Podesta, Jeffrey Stuker, and Liam Young discuss the influence of cinema on their respective practices.

*Split Diopter 2 is based on Split Diopter held at Chapman University’s Guggenheim Gallery and Co-Curated by Guggenheim Gallery Director, Marcus Herse.

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Screening and Talk: Ana Prvački's 'Flowering under stress' at àngels barcelona →

Ana Prvački'
June 2 | àngels barcelona, Spain

Ana Prvački’s videos combine humor, poetry, and sharp observation to question everyday rituals, social codes, and our relationship with the environment. Through small performative actions and a carefully crafted visual language, the artist introduces subtle twists that invite us to rethink the familiar from a playful and critical perspective. Her works, positioned between the conceptual and the sensorial, offer unconventional/ offbeat yet incisive reflections on the norms that shape daily life. This screening of Flowering under stress is presented in collaboration with The Voice of the Art as a part of àngels films’s spring screening series.

Find more information on the screening here.

Playfulness and Wonder: Ana Prvački for The Gorgeous Nothings →

Ana Prvački
March 15 – October 5, 2025 | Chatsworth House, Derbyshire, England

Berlin-based artist Ana Prvački has conceived four site-specific performative pieces for this year's exhibition, The Gorgeous Nothings: Flowers at Chatsworth. 

The work takes inspiration from the goddess Flora and involves a live trail through Chatsworth's Garden and Park. With particular reference to the Ludi Florales or Games of Flora, the ancient Roman festival that honoured the goddess of flowers, vegetation and fertility, Prvacki leads her viewers into a realm of playfulness and wonder.

Intersections of science, folklore, spirituality, and human connection emerge in Prvacki’s conversations with nature.

This first film, above, focuses on her findings on and around Flora. 

Ana Prvački's second film is set in the historic Kitchen Garden at Chatsworth House. 

It is a sensual and surprising meditation on the intelligence of gardens. Blending gentle humour with ecological insight, the film explores how gardens are not only sites of cultivation but also of deep resourcefulness and imagination.

With a focus on soil as a living, breathing body—hot, steamy, and craving cover— Prvački draws poetic connections between fertility, gravity, and the intimate choreography of growth.

This is gardening as performance, as philosophy, and as provocation.

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Jorge Méndez Blake in BE-LONGING: An Exhibition of the Mercedes-Benz Art Collection in Mexico City →

Jorge Méndez Blake
May 30 – August 31, 2025 | Espacio CDMX, Mexico City

Curated by Polina Stroganova for the Mercedes-Benz Art Collection, BE-LONGING brings together selected works from the Mercedes-Benz Art Collection and contemporary artists living and working in Mexico. The exhibition explores the theme of identity, a subject deeply embedded in contemporary artistic discourse and continuously negotiated within society at large. The works by 32 international artists illustrate not only the relevance and complexity of the chosen topic, but also its potential to promote individual and collective resilience.

The exhibited works deal with identity-forming aspects such as bodies, origins, memories, geographies and vocations. These thematic strands allow for multiple interpretations and perspectives on identity emphasizing the concepts of fluidity, dialogue, and the interplay between different points of view. Visitors are invited to contribute their own experiences and associations to this dialogue, making a space for exchange, reflection and critical engagement with the evolving nature of identity in contemporary society. The exhibition’s scenography is designed by the esteemed Mexico City-based architectural studio C Cúbica, which has developed a modular display tailored to the concept of the exhibition. This design reinforces the exhibition’s emphasis on interconnectedness and multiplicity.

The show marks the launch of a series of dialogue-driven, international exhibitions of the Mercedes-Benz Art Collection designed to engage with local artistic practices. Through a dynamic and modular approach, this initiative aims to reach a broad international audience while fostering collaborations between Mercedes-Benz employees, different communities as well as diverse artistic networks in key international locations—Mexico City being the first.

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Simryn Gill and Tom Melick's Stolon Press in 'Flat earth' at Monash University Museum of Art →

Simryn Gill
May 29 – July 12 2025 | Monash University Museum of Art

Working with the question of how an exhibition might be a book, Flat earth presents a diagrammatic flat plan of a proposal in space.

Stolon Press is a Sydney-based art and publishing collective whose work sits somewhere between art and book, image and text. Established in 2019 by writer Tom Melick and artist Simryn Gill, Stolon Press has published twenty books to date, regularly involving an extended network of collaborators and friends.

Conceived as a flattened ‘map’, Flat earth creates a shared space where artistic, linguistic and material practices converge. Artworks overlap across the galleries as a material gesture toward cohabitation and neighbourliness. Flat earth brings together work by longtime Stolon Press collaborators, including writer, translator, and anthropologist Elisa Taber, and Lebanese-born, Sydney-based artist Khaled Sabsabi. Considering the postponement by Monash University on March 25, 2025, the artists have chosen to show works from their practices and processes made from residual materials.

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Jessica Stockholder returns to Canada and the landscapes that shaped her work →

Jessica Stockholder | The Globe and Mail

Artist Jessica Stockholder poses for a photo in her installation, The Squared Circle: Ringing at the Museum of Contemporary Art in Toronto, on April 17. Courtesy Galit Rodan/The Globe and Mail

by Kate Taylor

Artist Jessica Stockholder has erected a bright yellow wrestling ring on the ground floor of the Museum of Contemporary Art in Toronto. Visitors aren’t permitted to clamber up there themselves, so they will have to make do with the symbolism: It’s a platform.

Like a museum, it’s a performance space for a controlled encounter. Like the world these days, it’s a site for violent display and boastful victory. Yet it is also resolutely cheery, surrounded by walls and floors painted with large geometric shapes in orange, red and green and accompanied by a sculpture made of deconstructed standing lamps and a net of hot-pink cords.

Stockholder, who grew up in Vancouver but made her career in the United States, has taken over the entire lobby space, blurring the lines between her art and the museum’s signage and mechanical elements. Wall texts, featuring witty bits of concrete poetry, insert themselves into awkward corners; a video screen hangs alongside an air vent of a similar size.

“It’s not a white cube space. A lot of people describe it as difficult to work in,” Stockholder said in a recent interview. “There’s a front desk, there’s two entryways. […] I really had a lot of fun. I sort of welcomed everything about the space. If you are not spending your time wishing for a white cube, it’s a lovely space.”

Read more here.

The Art Collective Superflex Wants to Change the World and Thinks You Can Too →

Superflex | The New York Times

Superflex’s Superbrick Factory is a work space in which “Superbricks” are produced and used to construct sculptures in the space. Superbricks are pink, curved bricks made from unfired clay that are constructed to avoid the right angles and straight lines of human architecture. Credit": Mathias Lassen/Courtesy of Museum Jorn

by Laura Rysman

If humans have any chance of saving themselves and life as we know it, we need to see the world in a whole new way — from the point of view of other species.

It’s a theory championed by the Copenhagen art collective Superflex, which builds on the philosophy that art and artists can and should play a role in the future of the world. […] That kind of thinking has placed Superflex among the innovative artists addressing the world’s ills today. Key to their philosophy and others like them is the belief that people should consider the impact on other species and work not only with fellow artists, architects and other experts, but also with communities to address those ills.

“We believe that today art is, and should be, at the forefront of making infrastructure at every possible level,” said Bjornstjerne Christiansen, one of the founders of Superflex, speaking on a panel titled “Worlds Imagined: Biodiversity and Tech” at the Art for Tomorrow conference in Milan last week. “It’s in the actual landscape-making where art has a crucial role to play.”

Read more here.

In Dialogue: Angela Bulloch, Richard Deacon, Janice Kerbel, Pae White and Jim Amberson →

Angela Bulloch and Pae White | STPI Creative Workshop & Gallery, Singapore

Artists in the exhibition New Releases Old Friends, Angela Bulloch, Richard Deacon, Janice Kerbel, and Pae White, come together for a panel discussion at STPI Creative Workshop & Gallery moderated by Jim Amberson.

New Releases Old Friends spotlights new facets of their respective practices, with fresh works by Bulloch, Kerbel and Rehberger premiering in Singapore alongside earlier works by Deacon and White – all developed in close collaboration with STPI’s Creative Workshop during their residencies with the esteemed Visting Artists Programme (VAP).

Find more information on the exhibition here.

The Decisive Moment with Jonny Niesche, the Australian contemporary artist behind Gucci's 90x90 project on his career-defining epiphany. →

Jonny Niesche | Assouline Culture Lounge

Photo by Dirk Tacke.

by Sofia Quintero

In the occasion where fine art meets high fashion, few brand collaborations strike the perfect balance between heritage and innovation. But not every brand is Gucci. To celebrate its iconic silk scarves, the Italian heritage brand launched "90x90," a special campaign featuring nine international artists tasked with reimagining five archival themes: flora, fauna, nautical, equestrian, and the GG Monogram.

Among these visionaries is Jonny Niesche, an Australian contemporary artist whose vibrant works have captivated the art world at large with his hypnotic blend of romanticism, abstraction, and minimalism. Known for his explorations of light and space perceptions, Niesche brings a distinct angle to the collaboration. "I have loved Gucci since my teens," Niesche says. "The brand has always had an elegance and classic style that really resonates with me." 90x90 marks Niesche’s first partnership with a fashion label. He deliberately waited for the ideal opportunity, and Gucci was the perfect fit.

Read more here.

Diana Thater and 8 Other Artists Pick Most Influential Environmental Art of the Past Century →

Diana Thater | Cultured Magazine

“This might not be environmental art, but it is an astounding image of the living environment, and it does what 'environmental' art should do and that is to give us an appreciation of the fascinating lives of others. It covers the 'art' part of the equation be being a REALLY GOOD photograph—something, ironically enough, we see very little of these days.

The story is this: A photographer was filming crested black macaques in Indonesia. He left his camera, and a female macaque snapped a series of self-portraits. You can see her thinking about it across the range of images. There are several shots where she tries serious looks—then she finally grins. Presumably, she was looking at her own reflection in the lens as she tried out different attitudes. In some of the photos you can see the camera lens reflected in her eyes. It’s not just a charming image of self-reflection; smiling from ear to ear, this macaque presents herself to the world. My purpose in making art is in representing those who do not represent themselves. But this macaque doesn’t need me. Crested black macaques are critically endangered.”

Read more here.

Review: Jorge Pardo at 1301PE →

Jorge Pardo | ArtForum

by Jan Tumlir

“Art is what it has become,” Theodor Adorno unequivocally declares in Aesthetic Theory (1970). His statement implies that the original meaning of a work can be completely overturned by its contemporary circumstances. A similar point can be made about gallery practice: Operational protocols, once seemingly set in stone, can undergo ground-up rethinking with every slight shift in our systems of informational and economic distribution. Jorge Pardo’s latest outing at 1301PE addressed this process from an ironic distance. But some measure of warmth could also be felt here, directed from the artist to the gallery’s founder, Brian Butler, with whom he has worked closely since the earliest days of his career. 

This show consisted of just one painting, Untitled, 2024, the scale and proportions of which closely matched those of the wall on which it hung, one that faced the entrance to a reconfigured downstairs gallery. Normally, this space opens onto a corridor that connects to the reception desk and office, and, farther on, to a stairway leading up to a second showroom. On this occasion, however, the passage had been sealed. In a period when commercial galleries are increasingly prone to hedging their bets with “mixed nuts,” something-for-everyone assortments of art, this was a rather striking proposition. Even more so was the fact that this work could be read as a kind of tribute to its site. At a distance, the painting appeared resolutely abstract, nonreferential, this impression reinforced by its title (or lack thereof). Observed more closely, it was revealed to be suffused with information. Its surface teems with material gleaned from every poster Butler had produced to accompany the gallery’s exhibitions up to then. Snippets of typography and fragments of imagery are scattered throughout, as if drawn through a shredder and then spread, mulch-like, across the picture plane. As with much of the artist’s work, Pardo layered, condensed, and recomposited the source data with the aid of computer programs run with minimal interference. Nevertheless, the result bore a strikingly organic aspect. From its earthy, autumnal tones to the quasi-gestural application of each daub of color, the painting greeted the eye as a kind of Arcadian landscape akin to those by Édouard Vuillard.

Read more here.

Fiona Banner AKA The Vanity Press →

Fiona Banner AKA The Vanity Press | Burlington Contemporary

Fiona Banner AKA The Vanity Press in 2024. (© Fiona Banner Studio; courtesy the artist and Frith Street Gallery, London; photograph Leroy Boeteng).

interviewed by Millie Walton

Although the links drawn between different types of assault and exploitation – on the body, on the landscape, on language itself – are often unsettling and confronting, there is always a sense of play to what Banner makes, a sending-up or collapsing of ‘grand’ ideas but also of her work. For her Tate commission in 2010, for example, she bought and installed two full-size fighter jets – a Sea Harrier aircraft and a SEPECAT Jaguar aircraft – into the Duveen galleries, creating an environment that was alternately monumental and sad. She later melted the planes down into ingots, which she keeps in her east London studio. Ahead of Banner’s solo exhibition at Frith Street Gallery, London (21st March–3rd May 2025), Millie Walton spoke to the artist about language, time, motherhood and military aircraft.

Read more here.

Artist Rirkrit Tiravanija: "As an artist, I can only make signs."

Rirkrit Tiravanija | Louisiana Channel

“Paying attention now is actually a kind of political act."

Renowned Thai artist Rirkrit Tiravanija reflects on the role of art in a time of crisis, the importance of questioning authority, and the need for critical engagement with the world around us in repressive times.

For Tiravanija, art serves as a space of doubt and freedom: "Art is always a place where we can have doubt, we're free to think, and we're free to question authority—any kind of authority." He urges viewers to challenge established institutions, including their own assumptions.

“I think now when we're in a place and time where you know there's so much trying to ask for attention, but the attention they're asking for is a kind of is a diversion from reality in a way is a diversion from facts is a diversion from truth,” Tiravanija says.

Tiravanija talks shares his view of the world at the occasion of his most recent work ‘A Million Rabbit Holes (2024), reflecting the events leading up to the US selection in November 2024.

Throughout the discussion, Rirkrit Tiravanija draws on personal observations and global political concerns, highlighting the dangers of uncritical acceptance: "We're coming to a place where the dreams are going to be shattered, there is no more dream."

Tiravanija also reflects on the commodification of art, arguing for a return to its radical roots: "Art has to stop becoming commodified and art has to go out and back into the woods as it was. Or maybe Duchamp, like has said, you know, it's time to go underground."

Despite the challenges ahead, the artist remains hopeful that crisis can be a catalyst for change: "I think we're coming to a big crisis and I I think, and I hope, that crisis is extreme enough to wake people up, to come together, to do things together in opposition to those things that are being set on us."

Inside An Intimate Dinner In Support Of The LA Arts Community Fire Relief Fund →

Jorge Pardo | Elle Decor

Photo by Katie Jones

By Sean Santiago

Last weekend, ELLE Decor hosted an intimate dinner at Ardor at The West Hollywood EDITION in support of the LA Arts Community Fire Relief Fund. The event was supported by Visit West Hollywood and Monacelli, off the back of Primack and Weissenberg’s Love How You Live: Adventures in Interior Design multi-city book tour. Each guest took home a copy of the book along with their own one-of-a-kind plate, hand-painted by artist Jorge Pardo. Sales of the plates, currently available by special order through the AGO Projects site, will raise money for the relief fund.

Read more here.

Philippe Parreno: Between Difficulty and Possibility →

Philippe Parreno | ArtReview

Philippe Parreno, Voices, 2024 (installation view). Photo: Andrea Rossetti.

by Martin Herbert

Philippe Parreno’s exhibitions are often initially experienced as a destabilising encounter with otherness. So, at the risk of blowing that for anyone who hasn’t seen Voices – a version of which, to be fair, was shown earlier in 2024 at the Leeum Museum of Art in Seoul – here’s what a first wander through is like. Haus der Kunst’s huge, darkened, neoclassical main space, flanked by smaller ones on either side and at the back, is dominated by an evolving film on a screen, El Almendral (2024), an updating stream of footage from an almond grove and surrounding landscape in Almería, Spain; almond trees tolerate drought, and this region is steadily undergoing desertification due to climate change. The smaller spaces offer a stop-start scenography of Parreno’s increasingly trademark light- and sound-based sculptures, mostly new, a few dating back years. Among them are a trio of bobbly glass sculptures, shaped like giant peanut shells and containing coloured lights, that slide up and down steel poles and cast rippling, austerely psychedelic patterns on the walls; a 5 × 5 grid of blinking globular heat lamps strung from the ceiling – heat being a leitmotif of the show – and suspended, intermittently rotating speakers that softly emit an aleatory soundscape of droning, muttering and chirring. The latter is part of an overall soundscape divided across the rooms, Voices (2024), which clones and sometimes completely abstracts speech by well-known German TV presenter Susanne Daubner. In each case, here, it feels like something is being transmitted in a language halfway alien, halfway familiar.

Read more here.

Phillipe Perreno in 'Double Vision: The Rachofsky Collection and the Hartland & Mackie / Labora Collection' at The Warehouse, Dallas →

Phillipe Perreno
February 15 - June 28, 2025 | The Warehouse, Dallas

Fraught Times: For Eleven Months of the Year it’s an Artwork and in December it’s Christmas (July), 2017
Cast and painted stainless steel
141 3/4 inches (360 cm); Diameter: 94 1/2 inches (240 cm)
Hartland & Mackie / Labora Collection

The inaugural exhibition of the newly formed Warehouse Dallas Art Foundation offers a glimpse at two collections—The Rachofsky Collection, created over the past 40 years, and the Hartland & Mackie / Labora Collection, developed over the last decade—foregrounding the potent and inventive interplay that will serve as a guiding principle for future programming at The Warehouse. This first look, as it were, is the Foundation’s opening chapter as it explores the art of our times.

Although both collections remain distinct in their points of view, the exhibition illuminates the serendipitous ways they overlap. As the exhibition unfolds, each gallery explores a theme or artist central to both collections, including commitments to several artists collected in-depth, such as Carroll Dunham, Wade Guyton, Marguerite Humeau, Calvin Marcus, and Dana Schutz. The exhibition is punctuated with galleries that offer broad presentations of these artists’ practices. In some instances, works by the same artists from different bodies of work will be placed in conversation, while in others, entirely different practices will be brought into dialogue.

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At Guadalajara Art Weekend, Open Studios Are the Biggest Draw →

Jorge Mendez Blake, Jorge Pardo and Pae White | Observer

Ceramica Suro’s annual Comida celebration during ART WKND GDL. Photo by Tuna Unalan.

By Elisa Carollo

The highlight of the evening at Plataforma was a conversation between Cuban artist Jorge Pardo and American artist Pae White, both of whom have long-standing ties with José Noé Suro. Pardo’s immersive, labyrinthine installation of luminous ceramic walls and colorful lamps seamlessly intertwined with White’s newest series of sculptures, forming an engaging, multisensory environment that explored how visual curiosity and emotional impulses shape perception.

The final stop was the studio of conceptual artist Jorge Méndez Blake, whose multimedia practice explores the intersection of literature, art and architecture—disciplines humans use to define their existential and operational space, imposing structure and direction upon it. Deconstructed pages of famous books transform into constellations of meaning, as Méndez Blake distills single characters, isolating them in a careful, rational order. Across his sprawling studio, various workstations held a series of hyperrealistic paintings, which, through trompe-l’œil techniques, similarly yet more directly challenge the viewer’s perception of reality. These paintings also serve as tools for conceptualizing and developing his other projects, reinforcing the artist’s fascination with language, illusion and the ways in which knowledge is both constructed and dismantled.

Read more here.

Jessica Stockholder: Cardinal Directions at Es Baluard Museu d’Art Contemporani de Palma →

Jessica Stockholder
January 31 - August 24, 2025 | Es Baluard Museu d’Art Contemporani de Palma, Spain

Curated by David Barro and Soad Houman, Cardinal Directions features works loaned from Barrié Foundation’s International Contemporary Painting Collection along with a site-specific work created for Es Baluard Museu. The work of Jessica Stockholder (born in Seattle, United States, 1959 and raised in Vancouver, B.C. Canada) reveals the complex relationship between the illusionistic space of painting and the physical presence of sculpture. Intrigued by the ways things are bounded and how we understand them, she explores this question in relationship to many materials and their intersection with pictorial possibilities. This interstitial state also grounds her work in the overlap between installation and architecture, since it is always linked to the site. Ultimately, her work is about the experience of looking, a kind of abstraction, use of color or artistic experience projected as a way of communicating the world, driven by the artist's conviction that any image of something involves abstraction if we think of it as relating the experience of that thing. 

Her practice is paradigmatic of what is termed expanded painting, a form of painting that can transform context into content by conquering architectural space and prompting a shift from the traditional two dimensions of the canvas to the three dimensions of real space, as well as including the time spectators take to wander through the space without ever finding a definitive viewpoint. This is definitely painting, and in her works we can talk about figure and ground, chiaroscuro, color, composition, space, rhythm . . . Everything hints at aspects or concepts of pictorial tradition, even though the materials might be socks, duct tape, a surfboard, a strip of shower curtain, umbrella fabric, a Ghanaian mask, a typewriter, weights or a carpet she has designed following her own color scheme. It is painting as a reality that can be penetrated, inhabited. Yet it is also painting that lets us continue to talk about painting, even though in many cases the surface to be painted is architectural space. The use of color dematerialises things and gives painting its pictorial quality, as reflected in this selection of works ranging from 2006 to the present. We notice this in her more intimate pieces, assemblages of usually found and reused objects whose material qualities have been erased by the impact of color. Artificial light, as a pictorial strategy, also plays into this intention, into this effect of color. Above and beyond painting, this approach prioritizes the pictorial essence of each object and, by extension, the pictorial potential of architectural space, which supports painting as a wall supports a canvas.

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Philippe Parreno's 'Voices' uses AI to give agency to denuded land →

Philippe Parreno | NewScientist

Philippe Parreno, Voices, Haus Der Kunst, 2024. Photo by Andrea Rossetti.

By David Stock

Phillipe Parreno wants to take visitors to his latest exhibition, Voices at Munich’s Haus Der Kunst, on a journey into the unknown. “There is no dramatic arc produced by Netflix where you just have to sit, shut up and enjoy the show,” the artist explains of the large, multi-room space filled with moving light sculptures, heat lamps, speaker arrays, dancers and film screens. Instead, for Parreno, traversing the rooms is a process of composing your own journey. “You explore time in space with your own curiosity.”

Read more here.