Pae White in 'Destiny is a Rose: The Eileen Harris Norton Collection' at Hauser & Wirth →

Pae White
February 24 – April 26, 2026 | Hauser & Wirth, Los Angeles

Pae White and Brian Eno
Oblique Strategies, 1996
Printed cards in Corian container
4 × 11 × 9 in. (10.2 × 27.9 × 22.9 cm)
Norton Family Christmas Edition

Renowned for her generosity to artists and institutions, Eileen Harris Norton has built a collection and philanthropy actively focused upon the work of women, artists of color and her native California. Marking fifty years since Harris Norton’s first acquisition—a print purchased directly from Los Angeles artist Ruth Waddy in 1976—‘Destiny Is a Rose’ presents more than 80 works that together reflect Harris Norton’s prescient vision and commitment to social justice and learning.

Titled after a painting by Kerry James Marshall, ‘Destiny Is a Rose’ includes work by such artists as Mark Bradford, Felix Gonzalez-Torres, David Hammons, Glenn Ligon, Marshall, Lorraine O’Grady, Adrian Piper, Betye Saar, Lorna Simpson, Kara Walker, Carrie Mae Weems and Jack Whitten, among others. In conjunction with ‘Destiny Is a Rose,’ Hauser & Wirth Publishers will release a catalogue featuring texts by Dr. Kellie Jones and curator Ingrid Schaffner, celebrating a collector who continues to be an agent of cultural change and growth.

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Jack Goldstein: Pictures, Sounds and Movies →

Jack Goldstein
January 24 – May 31, 2026 | Beim Stadthaus, Kunst Museum Winterthur

Jack Goldstein (1945–2003), who was born in Montreal and graduated from the California Institute of the Arts, became a key figure of the Pictures Generation, the artist movement that shunned traditional art forms and appropriated images from advertising, television, and popular culture.

His work is characterized by radical reduction, technical brilliance, and conceptual focus. At the beginning of his career, he created Post-Minimalist sculptures and performances. In the 1970s, he made experimental 16mm films such as The Jump (1978) in which a diver from Leni Riefenstahl’s film Olympia seems to jump into a void—a symbol for Goldstein’s own grappling with presence and erasure. Other videos, too, such as Shane (1973) and Metro-Goldwyn-Mayer (1975) explore the power of film images. 

In the same period, Goldstein began doing sound pieces and produced the series A Suite of Nine 7-Inch Records (1976), in which he combined sound effects from feature films to create sound artworks. Starting in 1980, he produced noteworthy large-format Photorealist paintings of natural phenomena, war scenes, and technological pictures, which consisted of illustrations from newspapers and magazines that his assistants had painted according to his directions. It was important for him to have as much distance to the work as possible and to minimize personal artistic style.

Whether sculpture, film, sound, or painting, Goldstein’s art revolves around transience, invisibility, and the mechanisms of reproduction through the media. He cleverly achieves a balance between spectacle and vacuousness. His suicide in 2003 marked the end of an oeuvre that had a considerable influence on an entire generation of younger artists—however, in Switzerland it was largely overlooked. Together with MAMCO Geneva (Musée d’Art Moderne et Contemporain), private lenders, and thanks to a permanent loan from the Jochen Kienzle Foundation, the Kunst Museum Winterthur presents a representative selection of paintings, films, and records for the first time.

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Jorge Méndez Blake in 'Fragments of Displacement' →

Jorge Méndez Blake
December 2, 2025 - March 1, 2026 | FF Projects, Miami

Curated by Omar Lopez-Chahoud, Fragments of Displacement features works by Mario Garcia Torres, Brian Eno, John Giorno, Andrea Geyer, Jose Davila, Gonzalo Lebrija, Chantal Peñalosa Fong, Stefan Bruggemann, Ian Waelder, Malibu, Linnea Goransson, Andre Komatsu, Jorge Mendez Blake, Matteo Callegari, Alessandro Moroder, Julia Rometti, Abigail Reyes, & Richie Culver.

The exhibition features site specific installations throughout the Miami Produce Distribution Center in Allapatah.

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On Responding: Stolon Press →

Simryn Gill | Art+Australia

by Amy May Stuart

Across two recent exhibitions, Stolon Press: Flat earth (Monash University Museum of Art (MUMA), Melbourne) and Live feed (1301SW, Sydney), the experimental publishing collective Stolon Press (Simryn Gill and Tom Melick) and their interdisciplinary collaborators work with what is close at hand. Discarded cardboard boxes, coffee grounds, one’s own voice, paper, vegetables, typewritten notes, and unframed photographs and prints form the material vocabulary of these two shows. There is a responsiveness too, in their way of working. This became clear in Flat earth—an exhibition put together by Stolon Press, to which they invited long-time collaborators Khaled Sabsabi and Elisa Taber—when the exhibition’s beleaguered completion significantly altered its planned form.

[…]

Instead of Stolon Press’ proposed discursive works, they contributed the ‘residual’ elements of the piece they had planned to show, Mixed business (2025)—direct prints taken from cardboard produce boxes collected in the vicinity of their Sydney studio. Placed across the floor in three of the gallery’s four spaces were ‘carpets’ of stitched-together cardboard from the flattened boxes, with each bearing the left-over ink from its use as a printmaking plate. While Mixed business did contain text, partially obscured labelling on the boxes detailing country of origin and contents, Stolon Press again move away from directly authored writing and towards minimalist abstraction. The gesture generated an ambiguity of meaning—which like Sabsabi’s Aajyna, prompts questions around demands for legibility from both viewers and institutions.

If Flat earth was characterised by minimalism and residuality, Live feed, a subsequent exhibition put together by Stolon Press, enacted an abundance of expression by the collective and their collaborator, chef Chui Lee Luk—not least through the communal dinners organised by Luk to bracket the exhibition period. Here, Stolon Press continued their long-term project of disciplinary disobedience, producing works that sat at the interstices of publishing, art and facilitating. Hosting Luk’s experiments with cooking and the fraught nature of food service they collectively asked questions of globalised flows of foodstuffs alongside the relationality of eating together.

Read more here.

Gonzalo Lebrija & Jorge Méndez Blake: FINISTERRE at Travesia Cuatro →

Jorge Méndez Blake
November 22, 2025 - February 15, 2026 | Travesia Cuatro, Madrid

Gonzalo Lebrija and Jorge Méndez Blake went to the Costa da Morte and brought back something they did not know they were looking for: lighthouses. Or rather: one imaginary lighthouse, made up of little bits of all the lighthouses—like a synthesis of all of them into one. They could have gone to Cornwall or Brittany or Cork, even to Tierra del Fuego or Nova Scotia, without bringing back the lantern of Lariño, or the sirens of Finisterre, or the light of Silleiro, and instead bringing back other lanterns, other sirens, and other light beams, and the result would have been much the same. Is what we feel when we look out onto the sea from any of the lighthouses mentioned really different from what we feel at any other lighthouse? Thinking that the answer is “yes” would turn us into mere stamp collectors. It is not the case. 

 Jorge Méndez Blake and Gonzalo Lebrija have traveled to the Costa da Morte at night precisely for that reason: daytime infatuation gone, mysteries reveal themselves in their full indecipherability. The candle that once gave light before it was snuffed out, the incandescent silhouette of a boat crossing the horizon, the luminous crown of a tower in the middle of the Atlantic, the imagined conversations between sailors and lighthouse keepers… without their cold presence, without their Beckett-like solitude, without their words—or our own—to point out what transcends us, Finisterre would not even have a name. As stated in one of the dialogues of the exhibition: lighthouses, fractions of hope, flickering over the horizon. “The fog surrounds us,” says one sailor in the same dialogue. “And our light traps us in it,” answers another. 

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Rirkrit Tiravanija in 'Show & Tell: An Exhibition for Kids' →

Rirkrit Tiravanija
November 20, 2025 – April 5, 2026 | Walker Art Center, Minneapolis

Harold with Rirkrit Tiravanija’s “Untitled 2006 pavilion table and puzzle representing the famous painting by Delacroix La Liberté Guidant le Peuple 1830.” Photo Credit: Sheila Regan of the Minneapolis Post

Show & Tell is an exuberant, hands-on exhibition designed just for kids!

Built around five exploratory zones—Play, Make, Find, Read, and Watch—Show & Tell encourages young people to approach contemporary art with creativity and imagination. Where Cas Holman’s Critter Party (2024) offers a sculpture to touch, climb on, and modify, Caroline Kent’s colorful abstractions inspire kids to create their own collages to project in the gallery. A porthole wall reveals a trove of hidden surprises, from a miniature Spoonbridge and Cherry to a family of funky creatures. And in the comfy “Watch” zone, a varied selection of short films prompts curiosity and conversation.

With vibrant graphics and thoughtful spatial design, Show & Tell is an exhibition full of tiny worlds, tall tales, and endless stories.

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Stolon Press in Gateway 2025: 'Seeds of Memory - Migration as Ceremony, Survival, and Renewal' →

Stolon Press (Simryn Gill)
November 19-23, 2025 | Manarat Al Saadiyat, Abu Dhabi

Stolon Press
Mixed Business No. 1, 2025
cardboard boxes (Missile Apples, South Australia; Durra Sunflower Oil, Malaysia; Tahineh, Kalaajieh, Lebanon; Moloky Thyme, Zaidan al Ammouri and Sons, Jordon; Royal Fields Stuffed Vine Leaves, Turkey; Wagh Bakri, Special International Blend Tea, Ahmedabad, India; Best Taste Pickled Cucumber, Iran; Duru Fine Bulgur, Turkey), etching ink, jute thread
110.24 x 62.99 inches

Gateway is an art exhibition held each November at Manarat Al Saadiyat during the Abu Dhabi Art Fair. Curated by Brook Andrew, the exhibition presents local and international artists through a distinctive curatorial lens. The exhibition is sponsored by Abu Dhabi Art’s Global Partner, HSBC.

The 2025 edition, titled Seeds of Memory - Migration as Ceremony, Survival, and Renewal features Betty Muffler, Issam Kourbaj, Leila Shirazi, Mohamed Majeed Almubarak, Natalia Papaeva and BANG ON Collective, Nomasmetaforas, Stolon Press, Sa Tahanan Co., & Vincent Namatjira 

Migration is a powerful term that encompasses a vast array of experiences across life and the universe. It includes the movement of water, seeds, animals, cultures, people, and their intertwined histories. These migrations—whether visible or invisible, physical or symbolic—are often deeply personal, evoking complex emotions and connections. They serve as profound metaphors for change, survival, and transformation. For Abu Dhabi Art 2025, curator and artist Brook Andrew delves into migration not only as a physical action but also as a poetic and political force. He explores it as a means to inspire and reminisce, to reflect on our place in the world, and to engage with others through performance, storytelling, and diverse cultural expressions. His curatorial vision invites audiences to participate in migration as an evolving and collective memory, one that can be celebratory, challenging, and healing—all at once. Through this lens, migration becomes a universal and shared human experience. 

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Ana Prvački in Phallus :: Fascinum :: Fascism →

Ana Prvački
November 15, 2025 – January 17, 2026 | The Box, Los Angeles

Ana Prvacki, Penis bonus pax in domus, 2017
Bronze, gold patina
8.8 x 5.5 x 3.1 inches
Ed. of 5

The Greek root φαλλός (phallos) is likely related to the Proto-Indo-European root bhel-, meaning “to blow up” or “swell,” which connects it to concepts of inflation or enlargement. This same root appears in other words related to swelling or fullness, such as balloon, bellows, or belly.

A fascinum was an ancient Roman style of an amulet of a phallus, designed to draw away the evil eye from the user towards the amulet (because it was an object of desire). The English word "fascinate" ultimately derives from Latin fascinum and the related verb fascinare, "to use the power of the fascinus", that is, "to practice magic" and hence "to enchant, bewitch, or bind together”.

In ancient Rome, the fasces were a ceremonial symbol of authority carried before magistrates. They consisted of birch or elm rods bound together with a leather strap, often with an axe head protruding from the bundle. The fasces represented the magistrate’s power to punish (the rods for beating) and execute (the axe for beheading). 

Benito Mussolini adopted this terminology when he founded the “Fasci di Combattimento” (Combat Squads) in 1919. The name deliberately evoked both the ancient Roman symbol of state power and the more recent tradition of Italian political organizing.

Now, I would like to draw your attention—at length—to the history of Ancient Roman militarism and fucking, or the suppression of non-procreative sex, if you please:

The endless demands of Roman militarism created an inexorable pressure for population growth that fundamentally transformed sexual culture and law. What began as pragmatic concerns about maintaining adequate military recruitment gradually evolved into a comprehensive system of legal and social controls that systematically suppressed non-procreative sexual behaviors. This transformation reached its culmination not with the end of paganism, but with Christianity’s adoption and intensification of these existing regulatory frameworks. 

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Kirsten Everberg in INCOGNITO for Institute for Contemporary Art, Los Angeles →

Kirsten Everberg
November 15, 6-11pm | Hauser & Wirth, Downtown Los Angeles

INCOGNITO is back for its 16th iteration in support of the Institute of Contemporary Art, Los Angeles.

Hosted by Hauser & Wirth Downtown Los Angeles, Kirsten Everberg joins over 300 artists—both established and emerging—have each contributed 12 x 12-inch works of art in any medium of their choosing. All works generously donated by the artists are sold for $750 each, regardless of their current market or whether they have been working for decades or recently graduated. To further underscore INCOGNITO’s foundation of equity and playfulness, all artists remain anonymous—or incognito—their identities only revealed after the purchase of their work. 

Whether you are an avid collector or a first-time buyer, INCOGNITO is a fantastic opportunity to add new and original works of art to your collection. Guests are encouraged to use their eyes, follow their hearts, and trust their instincts to make their selections! 

All proceeds from INCOGNITO support ICA LA’s roster of dynamic exhibitions and Learning & Engagement programs and allow us to keep them free to the public. 

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Rirkrit Tiravanija in 'Forms of Encounter' →

Rirkrit Tiravanija
November 14-30, 2025 | Organized by STPI at Central Chidlom, Bangkok

Presented on the occasion of the 60th anniversary of diplomatic relations between Singapore and Thailand, Forms of Encounter brings together six leading voices in contemporary art: Heman Chong, Charles Lim Yi Yong, Pinaree Sanpitak, Rirkrit Tiravanija, Natee Utarit, and Suzann Victor. Developed through individual residencies at STPI, the works on view reflect the depth of engagement that each artist has shared with the workshop, bringing into focus the different ways in which artistic inquiry unfolds when supported by time, technique, and space for experimentation. 

Across the exhibition, correspondences emerge gradually. Some works trace the residue of spaces, gesture or memory; others pare down language into sign, rhythm, or delay. The impression is one of proximity rather than sameness—parallel intensities each shaped by a distinctive sensibility that underscores a shared commitment to the rigor of making. A subtle dialogue emerges between the works, not through convergent themes, but through a common attention to process. These are practices grounded in material inquiry: folding, layering, staining, casting, and imprinting. Surfaces are worked and reworked to uncover what might appear through repetition, resistance, or the unexpected behavior of a substrate. 

In this respect, resolution is found in the layered experience of the exhibition itself, in the way the works reveal different facets in proximity, each encounter building upon the last. Across gestures, surfaces, and temporalities, meaning accrues gradually, shaped by attention and sustained looking. Here, Forms of Encounter speaks not only to the coming together of discrete practices, but also to the manifold ways in which art engages: as process, as presence, as relation.  

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Blake Rayne at Miguel Abreu →

Blake Rayne
November 13, 2025 - January 10, 2026 | Miguel Abreu, New York

Relay (Transduction Protocol 01 : Spit Test), 2025
Oil, acrylic, spray paint, synthetic fabric on canvas
88 x 58 inches (223.5 x 147.3 cm)

Blake Rayne’s paintings are structured by the generative duplicity of words like script, folder, application, dissolve, and screen. These operative terms locate the work between structures of linguistic description and the history of reflexive material procedures. Rayne begins from an orientation that would consider the terms ‘painter’ and ‘painting’ as signs—that is, as fictions. They have no stable material definition, but rather are shaped by linguistic, institutional, and physical relations. Rayne’s mode of abstract painting is irrevocably marked by conceptual art. Here, context is constitutive. The exhibition is Blake Rayne’s eighth one-person exhibition with Miguel Abreu.

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Rirkrit Tiravanija in the 15th Shanghai Bienniale 'Does the flower hear the bee?' →

Rirkrit Tiravanija
November 8, 2025 - March 31, 2026 | Power Station of Art, Shanghai

Rirkrit Tiravanija, untitled 1992 (cure), installation view, Exit Art, New York, USA (1992)

Launched in 1996, the Shanghai Biennale is not only the first international biennial of contemporary art on the Chinese mainland, but also one of the most influential in Asia. In 2012, the Power Station of Art became the main organizer and permanent exhibition location of the Shanghai Biennale.

The Biennale takes its cue from recent scientific discoveries about the interactions between different life forms. Like the flower that “hears” the bee’s wings, this exhibition aims to operate at the intersection of differing models of intelligence, both human and nonhuman. It is based on the belief that recent art provides us with a privileged space for such investigations, offering an embodied and interconnected sphere in which communities may form stronger bonds with what eco-philosopher David Abram has called “the more-than-human world.”

We live in a moment of great uncertainty and global emergency that has given rise to a widespread sense of disorientation. Our world is transforming at a pace that eludes our capacity for comprehension, leaving us feeling bewildered and uncertain. If a return to the past is impossible, art offers us potential pathways out of despair and malaise, helping us to find emergent forms-of-life and new modes of sensorial communication amid this instability.

Conceived in dialogue with the ideas of artists, curators, intellectuals, musicians, poets, scientists, and writers, Does the flower hear the bee? recognizes that much depends on our capacity to sense the world around us and attune ourselves to its diverse array of intelligences. Its hopeful vision rests on art’s ability to orient us towards an unknown future.

For the 15th Shanghai Biennale, titled Does the flower hear the bee?, Rirkrit Tiravanija brings together new and historical works that continue his long-standing engagement with social space, language, and shared experience. The presentation combines two new large-scale text banners—THE FORM OF THE FLOWER IS UNKNOWN TO THE SEED and MY BODY IS FILLED WITH WAITING. Alongside them, untitled 1992 (cure)—the now-iconic orange tea tent—and untitled 1994 (angst essen seele auf), a functioning Fassbinder Bar and T-shirt printing workshop featuring the phrase FEAR EATS THE SOUL, extend the artist’s exploration of hospitality and encounter.

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Rirkrit Tiravanija: (the intellects take leave) →

Rirkrit Tiravanija
November 5 - December 20, 2025 | Gladstone Gallery, Brussels

In his latest solo exhibition at Gladstone Gallery in Brussels, Rirkrit Tiravanija presents recent works that build upon an ongoing body of work referencing Canadian American artist Philip Guston’s paintings on American newspapers in the 1970s. Using tree lacquer and oil, Tiravanija adapts the concept for contemporary times by painting on editions of The New York Times that feature Donald Trump’s election and inauguration. The series reflects his broader practice which is grounded in relational aesthetics and approaches art as a catalyst for social commentary and change.

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Eli Bornowsky & Jessica Stockholder: is a knot helpful at Catriona Jeffries →

Jessica Stockholder
October 31 - December 13, 2025 | Catriona Jeffries, Vancouver

A knot is a line turned back on itself. A two-dimensional gesture becomes a spatial configuration, perhaps even unfolding temporally as we follow its arc from beginning to end. Whether formed by hand or through circumstance, a knot interrupts the flow to hold materials together through tension. Making use of lines, knots, and tangles, artworks by Jessica Stockholder and Eli Bornowsky draw connections across symbolic and material realities, tracing the entanglements through which perception takes shape.

The artists’ overlapping tactics of ‘picture-making’ give both practices a metonymic quality. Whereas metaphor operates through resemblance—one thing standing in for another—metonymy depends on adjacency and material connection. Stockholder literally draws lines across what we call nature and society, each hooked terminus acting as an anchor that clasps nearby objects in a continuous chain. Bruised Elbow (2025) features elemental copper and an amputated tree limb aligned with a plastic food tray. What do they have in common but everything? The tree evokes nature, yet this tree was cultivated, replanted among others to replenish clearcut tracts, while plastic has become ubiquitous within so-called nature. Her practice insists that there is no raw material from which to construct—only matter already shaped by culture, industry, and environmental pressures. Bornowsky’s work asks similar questions, to different effect. How can we conceive of infinity from within our decidedly finite perspective and existence? The procedurally-coloured, aperiodic patterns that comprise his work are subject to multi-stability—which is the optical condition of having several likenesses at once. For Bornowsky, multi-stability is universality, the common denominator of dissimilar perspectives is their difference and their ongoing interpretability. In this way, both artists’ works entangle the viewer, drawing us into a chain of causality that unfolds in simultaneously material and symbolic dimensions.

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Rirkrit Tiravanija: Untitled 2025 (NO BREAD NO ASHES) Public Performance →

Rirkrit Tiravanija
October 30, 2025, 3-5pm | MIA Park, Doha, Qatar

In this unique public art performance, Tiravanija will bake on-site and engage directly with the public, continuing his celebrated practice of blending art with communal experience. His interactive installation reinterprets the bakery oven and griddle as both a functional tool and powerful cultural symbol. Inspired by Argentine artist Victor Grippo’s 1972 performance in Buenos Aires, the Doha installation features a range of regional traditional ovens and griddles.

The installation is organised by Rubaiya Qatar, an international contemporary art quadrennial. The program is part of the lead-up to its inaugural edition opening in November 2026 and coincides with Qatar-Argentina and Chile 2025 Year of Culture.

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Jorge Pardo at Petzel, New York →

Jorge Pardo
October 30, 2025 - January 10, 2026 | Petzel, New York

Jorge Pardo, Untitled, 2025
Oil and metallic paint on canvas, stretched over birch and engraved
73 1/4 x 73 1/4 x 2 3/8 in
186 x 186 x 6 cm

With vibrant paintings, hanging sets of pendants and new floor lamps, Pardo builds upon his interest in fusing machine and hand-made media to create works that are paradoxically bound to conditions of time, memory, and space.

Referring to his paintings as “artworks to think with,” Pardo uses a procedural approach he has developed over the past half decade. He overlaps far-spanning art historical sources digitally, which converge and intersect as vertices of light, color, and form to arrive at final images through a process of estrangement and dissociation. This allows him to forge unexpected affinities between seemingly disparate works, starting with the entirety of Monet’s Haystacks and intersecting them with the interventions of conceptually-informed artists like Michael Asher. Pardo feeds such influences—compositions by Monet, Asher, Joan Mitchell, Wayne Thiebaud, and others—through a mechanized order of operations, appropriating these images while disassembling them altogether. With the digital drawing complete, vectorized outlines are laser-etched on to canvas and hand-painted with an effervescent palette of marigold yellows, pearlescent blues, and mossy greens.

Similarly, Pardo’s hanging pendants and floor lamps draw upon both Monet’s Haystacks and Warhol’s Shadows. Armed with architectural software, the artist machines these mythical lighting effects so tangled in art historical discourse. The resulting lightworks slice, abstract and restructure the interior light of Monet and the exterior saturation of Warhol’s shadows onto laser-cut planes of painted acrylic sheeting. For the floor lamps, Pardo has used over 50 Shadow paintings as his palette, assigning colors to each lamp. Unique, organic shapes emerge from the floor through acrylic that the artist warps with heat.

In addition to the exhibition, Pardo has invited an ensemble of artists, curators, writers, psychoanalysts, scientists, and thinkers to give brief lectures instead of each painting’s titles as ephemeral stand-ins. The lectures will take place on December 13, 2025, with more details forthcoming.

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SUPERFLEX in Down Deep: Living Seas, Living Bodies →

SUPERFLEX
October 30, 2025 - April 4, 2026 | State Art Gallery, Sopot

SUPERFLEX, Hunga Tonga (2021), video; 22 minutes (video still)

On the shores of the Baltic Sea, overlooking the Bay of Gdańsk, artists from Poland, France, Ireland, Lithuania, Latvia, Estonia, Greece, Australia, the United States, Chile, India, South Korea, and the Caribbean have gathered for this group exhibition. The State Art Gallery’s unique location in Sopot provides a natural context for reflecting on our physical, mental, emotional, and spiritual connection to the ocean. The international group of artists broadens this perspective, opening up space for diverse interpretations and sensibilities. Here, water becomes a connecting thread—a common denominator that weaves together artistic practices emerging from diverse cultures and contexts.

The project’s partners are the Institute of Oceanology of the Polish Academy of Sciences and the University of Gdańsk, whose knowledge and experience enrich the exhibition’s artistic dimension with a scientific perspective and reflection on the condition of the oceans.

Central to the exhibition is the question of what it means to become ocean, to return our human bodies to the immense body of water that covers over two-thirds of the Earth. Scientists have long been investigating the watery origins of life on our planet, initially including tide pools and hot springs as possibilities. Modern research has hypothesised that life originated near deep sea hydrothermal vents, as the chemicals found in these vents and the energy they provide could fuel the many reactions needed for the evolution of life.

Down Deep begins from this hypothesis of life’s oceanic origins at least 3.5 billion years ago to consider our innate connectivity to the water and, by extension, how we came into being and continue to exist as a collective species. In this, the exhibition moves against the philosophical, religious, and techno-industrial lineage of anthropocentrism that continues to divide us from our environments and which was furthered by the advent of modern science and agriculture, with its embedded intent to tame, categorise and contain the world around us. If we were to relinquish the binds of this human exceptionalism, how might we understand ourselves within a larger body of enveloping life and start to exist in communion with the deep and profound rhythms of the ocean?

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Rirkrit Tiravanija and Philippe Parreno in '1+1. The relational years' →

Rirkrit Tiravanija, Philippe Parreno
October 29, 2025 - March 1, 2026 | MAXXI National Museum of 21st Century Arts, Rome

Britto Arts Trust, Pakghor (The social kitchen), 2025 / OPAVIVARÁ!, namoita, 2014

1+1. The relational years is the first major retrospective dedicated to the Relational Art movement—three decades after its inception—curated by internationally renowned critic and curator Nicolas Bourriaud.

In the 1990s, a new generation of artists revolutionized the discourse of art by opening it up to human relationships, exploring the collective sphere, and using social practices, conviviality, interaction, groups, and communities as both materials and tools of research. The concept of Relational Aesthetics, theorized by Bourriaud in 1998, is now recognized as one of the major artistic movements of the new millennium, with its artists acclaimed worldwide: Vanessa Beecroft, Maurizio Cattelan, Dominique Gonzalez-Foerster, Carsten Höller, Pierre Huyghe, Philippe Parreno, and Rirkrit Tiravanija, to name just a few.

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Pae White in News from the Near Future →

Pae White
October 28, 2025 – March 8, 2026 | Fondazione Sandretto Re Rebaudengo & Museo Nazionale dell’Automobile, Turin

News from the Near Future is a major group show celebrating thirty years of commitment to promoting contemporary art, curated by Bernardo Follini and Eugenio Re Rebaudengo.

Articulated across two venues—Fondazione Sandretto Re Rebaudengo and Museo Nazionale dell’Automobile in Turin—the exhibition retraces three decades of artistic research through a selection of works from the Sandretto Re Rebaudengo Collection.

The Collection, which started in 1992, has had a close reciprocal relationship with Fondazione Sandretto Re Rebaudengo since the latter was founded in 1995, taking on the status and role of a research instrument. Today the Collection reflects the institution’s exhibitions, tracing a unique history of art from the 1990s to the present, with antecedents in earlier decades.

Within the Fondazione’s spaces, historical works are presented alongside recent or never- before-shown pieces, as well as an archive section dedicated to the thirty-year history of the Fondazione, through documents, media materials, videos, images, and artworks.

The section hosted at Museo Nazionale dell’Automobile connects recent art history with the Fondazione’s own development through iconic works from the Collection that emphasize diverse dialogues, lineages, and tensions.

More than one hundred works, created by the most representative artists from the institution’s journey, explore the development of different artistic languages and media over a broad timeframe: video and video installation from Doug Aitken and Steve McQueen to Ian Cheng; sculpture from Urs Fischer to Berlinde De Bruyckere and Andra Ursuta; installation from Tobias Rehberger to Adrián Villar Rojas; photography from Cindy Sherman to Wolfgang Tillmans; painting from Glenn Brown to Tauba Auerbach and Ambera Wellmann. The exhibition is not a chronological narrative, but a visual, affective, and conceptual archive, reflecting how the Collection and Fondazione were built over time through exhibitions, commissions, institutional collaborations, residencies, educational and training projects.

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Fiona Banner in 'PUSH THE LIMITS 2: culture strips to reveal war' →

Fiona Banner
October 27, 2025 - February 1, 2026 | The Fondazione Merz, Turin

Fiona Banner, Pranayama Organ, 2021

The Fondazione Merz in Turin presents the second edition of PUSH THE LIMITS, an exhibition project that deepens its ongoing exploration of contemporary language and creativity. Bringing together artists from diverse generations and backgrounds, the exhibition highlights those who make the challenge and transformation of imposed or perceived boundaries central to their artistic practice.

PUSH THE LIMITS 2 culture strips to reveal war, offers an encounter with the practices, languages, and research of 19 artists – Heba Y. Amin, Maja Bajević, Mirna Bamieh, Fiona Banner aka The Vanity Press, Rossella Biscotti, Monica Bonvicini, Latifa Echakhch, yasmine eid-sabbagh/Rozenn Quéré, Cécile B. Evans, Dominique Gonzalez-Foerster, Mona Hatoum, Emily Jacir, Jasleen Kaur, Katerina Kovaleva, Teresa Margolles, Helina Metaferia, Janis Rafa, Zineb Sedira, Nora Turato. They will be presenting new works, others already created or recontextualized specifically for the spaces of the Fondazione.

Curated by Claudia Gioia and Beatrice Merz, the project stems from the idea of art as regeneration and the ability to formulate thoughts and words where the urgency issues of the present seem instead to push toward repetition and resignation to immobility.

The title, PUSH THE LIMITS 2 culture strips to reveal war, seeks to underline the attitude of art to push itself constantly to the limit in order to shift the axis of thinking, perception, and discourse, to introduce new solutions and interpretations of our time. In this second edition, the exhibition deepens its role in the face of official narratives, which attempt to normalize the devastating consequences of conflict and destruction, and the silence of politics. “Means and ends are intertwined, and the result is that we no longer understand what the ends are,” explain the curators.

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