Diana Thater 'The future of art’: A first look at the video installation that’ll light up LACMA’s Wilshire bridge, in the LA Times →

Diana Thater
debuting in September 2026 | Los Angeles County Museum of Art

Artist Diana Thater stands in front of her new video installation at LACMA’s new David Geffen Galleries.

(Carlin Stiehl / For The LA Times)

By Solvej Schou

When pedestrians and drivers head under the bridge formed over Wilshire Boulevard by Los Angeles County Museum of Art’s David Geffen Galleries, they will soon be treated to a new permanent large-scale video installation by artist Diana Thater.

As the sun set on a recent weeknight, Thater stood along the busy thoroughfare and pointed up at an early test run of her new piece “Oo Fifi, Five Days In Claude Monet’s Garden, Part 3,” expected to debut in September as both the largest work of Thater’s career and the first time an artist has had a permanent outdoor video installation in a public space.

The piece will run about seven hours from sundown to sunrise, 365 days a year, just across the street from Jeff Koons’ monumental topiary sculpture “Split-Rocker.”

While the sunlight faded, two large projectors splashed 6K video footage that Thater took in 2025 of Claude Monet’s lush garden in Giverny, France, onto a 59-feet-wide by 21-feet-high building wall — and part of the bridge’s ceiling — on the north side of the recently opened Peter Zumthor–designed galleries.

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SUPERFLEX collaborates with Sharjah Art Foundation to reimagine Al Majarrah Park →

SUPERFLEX
Opening 21 May, 2026 | Al Majarrah Park in Sharjah

SUPERFEX, Al Maharrah Park, Sharjah, 2026. Image courtesy of Sharjah Art Foundation. Photo: Motaz Mawid

Sharjah Art Foundation announces the reopening of Al Majarrah Park, located alongside the creek in the heritage district of Sharjah. Opening on 21 May 2026, the park is redesigned to bring residents and visitors closer together through recreation, conversation and shared cultural memories.

The new plan for the park was conceived by renowned artist collective SUPERFLEX in close collaboration with Schul Landscape Architects, Copenhagen, and KWY.studio, Lisbon. Outlines of old courtyards and houses are reflected in the design of the different zones, and uneven walkways rise and fall like dunes, a reminder of the landscape surrounding the city.

Al Mujarrah Park examines the invisible memories of Mujarrah. In an attempt to represent the collective memory of Mujarrah, stories were gather from local residents about everyday objects that have personal significance for them, either as tokens of their time in Sharjah or reminders of their homelands. Then these objects were magnified into large-scale monochrome sculptures of a lucky card, a toy tractor, a kebab, a cardamom, a basketball, a safe, a date, a phone, a sand grain, and a book.

The meaning of these objects might seem mysterious to visitors, but to the individuals who suggested them, they were connected to memories. Now that they are placed in a public space, their meanings will continually transform over time, gathering new stories as people use the park.

The Foundation has a longstanding relationship with SUPERFLEX, beginning with their Sharjah Biennial 11 commission The Bank (2013), an urban playground that actively engaged the local community.

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Jorge Pardo in 'As if in a Dream: History, Fantasy, Future' →

Jorge Pardo
March 8, 2026 – January 3, 2027 | Santa Barbara Museum of Art

Jorge Pardo, Untitled (Sea Urchin), 2012. Collection of SBMA. Museum purchase funded by The Museum Contemporaries and the 20th Century Art Quasi Endowment Fund.

The artworks in 'As if in a Dream: History, Fantasy, Future' started from a kernel of reality, glimmer of lived experience, or sliver of memory. Like dreams, they combine real and familiar elements but in illogical or uncanny ways. With works from the Museum’s collection supplemented by loans, this exhibition shows artists giving fleeting memories durable form, envisioning a future, and transforming the everyday into the visionary. Spread across the McCormick, Wasserman Family, and Davidson Galleries, and predominantly featuring collection items with a few special loans, the presentation is divided into two sections: landscapes and bodies (mostly human).

This exhibition features works by Rodolfo Abularach, Alice Baber, Roger Brown, Dominic Chambers, Edward Chávez, Rafael Coronel, Daniel Crews-Chubb, Jules de Balincourt, Marsden Hartley, Alexei Jawlensky, Max Hooper Schneider, Wifredo Lam, Dave McDermott, Mimi Lauter, Wright Ludington, Giovanni Paolo Panini, Jorge Pardo, Patricia Peco, Howardena Pindell, Lari Pitman, Kenneth Price, Odilon Redon, Alison Saar, Fernando de Szyszlo, Tom Wudl, Brenna Youngblood, among others.

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Petra Cortright in 'Dire Straits' curated by Benjamin Godsill →

Petra Cortright
April 25, 2026 – April 11, 2027 | Carl Kostyál, Stockholm

MAINBITCH.MOV SPRING SCRAP, 2012
webcam video
5 minutes 32 seconds
2 of 3 + 1AP

“We seem to be standing at a precipice: a jumping off point. But don’t we always? And, to a certain extent, we always are. Every passing moment creates a cascading tree of roads not taken. Collectively (and individually) we find ourselves on the road we did take, and we are not sure it was the correct exit, and we can’t find anywhere to get-off and turn-around. As a culture we are in dire straits – a very bad situation and there is no off-ramp.

This exhibition documents this moment in time: how artists are thinking, making and reimagining what could be. Drawn from the Gullringsbo collection, assembled over almost two decades with select recent additions as well as several loans from simpatico collections, the artworks assembled can be read as a new navigational system for un-charted waters. The artists included in ‘Dire Straits’ propose- in their varied projects-a heterogeneous set of strategies for reckoning with the now. They explore how we got here, where we are and whisper ideas of where we may be going.” – Benjamin Godsill

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SUPERFLEX: Come Hell or High Water →

SUPERFLEX
May 7, 2026 – January 3, 2027 | ARKEN Museum of Modern Art, Copenhagen

One day, ARKEN will be underwater. In the solo exhibition Come Hell or High Water, this future serves as the point of departure for the Danish artist group SUPERFLEX, as they transform the museum into an ark for all species. The museum is staged as a sunken ship deep below the surface of the sea. Blue light fills the galleries, and at the entrance, sandbags and barricades bear witness to attempts to keep the water out.

Transport crates are piled in the museum's Art axis. They contain works from SUPERFLEX's more than 30-year career, ranging from the group's earliest works from 1993 to brand new productions. The crates are both an archive of their art and cargo of a ship – ready to be transported onward, opened, or left behind.

Over the past several years SUPERFLEX has developed artworks that function not only as art, but also as housing for fish. This practice culminates in the exhibition's new long-term project, The Ark Factory.

At the center of the exhibition, a functioning factory will be set up in which parts of a large ark are produced using a new technique for creating habitats for marine life. This ark will not float but instead serve as an artificial reef that fosters biodiversity as sea levels rise. Over time, parts of the ark will be placed on the seabed in locations around the world. SUPERFLEX's ark will become a platform for coexistence across species – a vessel that carries life into the future, with or without humans on board.

Come Hell or High Water insists on action in uncertain times and unfolds as a space for preparation, collaboration, and imagination.

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On Craft and Unexpected Materiality: An Artist Talk with Pae White in conversation with Kimberly Bradley →

Pae White
May 1, 2026, 3:30-4:30pm | Neue Nationalgalerie, Berlin

With a practice that transverses sculpture, tapestry, graphic design, and large-scale installation, Pae White probes both material and motif. She explores the limits of a medium’s possibility and often upends its associations, repurposing everyday substances into sensory and revelatory new arrangements: Yarn becomes painting. Automotive lacquer is applied to organic forms. Jacquard weavings take on sculptural qualities. Paper is mistaken for bronze. For the artist, every artwork feels like a test, and nothing ever feels fully resolved. In this conversation, White joins Kimberly Bradley to discuss notions of beauty, craft, and processes of creation, particularly in relation to the artist’s newest body of work—on view in her solo exhibition “pushmi-pullyu” during Gallery Weekend Berlin at neugerriemschneider’s Christinenstrasse location.

The work of Pae White (b. 1963, Pasadena, California) combines scale and delicacy to repurpose everyday substances into sensory and revelatory new arrangements. White participated in the Whitney Biennial, New York (2010) and the 53rd Venice Biennale (2009). Selected solo exhibitions include those at Plataforma de Arte Contemporáneo, Guadalajara (2025); San José Museum of Art, San José (2019); Saarlandmuseum, Moderne Galerie, Saarbrücken (2017); MAK – Museum für angewandte Kunst / Gegenwartskunst, Vienna (2013); Langen Foundation, Neuss (2013); South London Gallery, London (2013); The Power Plant Contemporary Art Gallery, Toronto (2011); Art Institute of Chicago, Chicago (2011); Saint Louis Art Museum, St. Louis (2010); Hirshhorn Museum and Sculpture Garden, Washington, D.C. (2007); Manchester Art Gallery, Manchester (2006); and Hammer Museum, Los Angeles (2004). White lives and works in Los Angeles. 

Kimberly Bradley is an art critic, culture journalist, editor, and educator based in Berlin. She has written for publications ranging from frieze to The New York Times; edited catalogues and artist books for institutions including KW Institute for Contemporary Art, Haus der Kunst, and Gropius Bau; and for a decade taught courses in contemporary art practices at NYU Berlin. She is a commissioning editor at Art Basel Stories and in 2024 was the curator of Art Basel Conversations in Basel and Miami Beach.

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Jan Albers in 'Zugzwang' →

Jan Albers
May 9 – September 27, 2026 | kunsthaus nrw kornelimünster, Aachen

Jan Albers
Sunshine Sprayer Shelp, 2001
101 × 154 × 24 cm

Following the first chapter, „Klassenverhältnisse. Lehrende, Lernende, Künstler:innen“ in 2025, Kunsthaus NRW continues the exhibition this year with new works and thematic emphases. The exhibition explores the cosmos of the art academy through both traditional artistic genres and hybrid forms of contemporary artistic production. Alongside questions of technical training, it focuses on aspects such as conceptual thinking. It traces the historical development of art and the teaching of art since 1946 and examines relationships between teachers and students. At the same time, it addresses the global networks of art academies in North Rhine-Westphalia, points to alternative artistic paths beyond academic training, and considers the transition from study into the professional art world. Approximately 130 works from the Kunsthaus NRW collection will be presented, alongside selected loans from the Akademie-Galerie of Kunstakademie Düsseldorf.

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Pae White's Ring Collection for Vhernier Debut in Venice →

Pae White | May 7, 6:30pm—8:00pm at Palazzo Soranzo Van Axel

Pae White for Vhernier. Photo: Erdna Creative.

In Venice, multidisciplinary artist Pae White and Milanese jeweler Vhernier will be unveiling to Europe a limited edition ring collection that makes the case for jewelry as serious sculpture. The collection, designed by White and crafted by Vhernier, is inspired by the architecture of a crab’s exoskeleton, rendered in white gold, abalone, jade, sapphires, and rock crystal. Rarity is the name of the game here: only two iterations of each design will be produced. 

Petra Cortright in 'Zugzwang' →

Petra Cortright
April 16 – May 16, 2026 | Brigade Gallery, Copenhagen

An exhibition that begins with a simple yet deeply architectural question: how is a place constructed before it exists? The works operate as a model without fixed scale — an open system in which tests and suspended forms coexist. A place conceived even as it is observed.

Featuring works by Erika Hock, Nicholas Szymanski, Petra Cortright, Marc Badia, Sofía González, Miki Leal and Stephen Felton and curated by Óscar Florit, the exhibition is part of the ongoing collaboration between Proyecto REME and La Caja.

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Rirkrit Tiravanija to Assemble “A Gathering of Remarkable People” for Qatar Pavilion at Venice Biennale →

Rirkrit Tiravanija | ArtForum

From left: Sophia Al-Maria, Tom Eccles, Rirkrit Tiravanija, Tarek Atoui, and Ruba Katrib. Photo: © Brigitte Lacombe.

The National Pavilion of Qatar has announced that Thai artist Rirkrit Tiravanija will bring together a group of musicians, poets, chefs, and artists from the Arab world for its exhibition at the Sixty-First Venice Biennale, to open on May 9. The show, “Untitled (a gathering of remarkable people),” is being cocurated by Tom Eccles, executive director of Center for Curatorial Studies and the Hessel Museum of Art at Bard College, and Ruba Katrib, chief curator and director of curatorial affairs, at New York’s MoMA PS1. It will occupy a tent in the Giardini on the future site of Qatar’s new permanent pavilion, which is being designed by Lebanese-born architect Lina Ghotmeh.

[…]

“On the global stage of the Venice Biennale, this exhibition demonstrates Qatar’s unwavering belief in the power of culture to bring people together and to create space for reflection, connection, and affirmation of our shared humanity,” said Qatar Museums chair Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani, the pavilion’s commissioner, in a statement. “Qatar is proud to provide a platform for the creative talent of our nation and the Arab world. Together, these artists and their work highlight the importance of resilience in a complicated time, empowering communities, inspiring generations, and strengthening our combined heritage.”

Read more here.

Uta Barth: “Perception and the Act of Looking” →

Uta Barth | EXIT Imagen y Cultura #99, Published March 2026

by Guillermo Espinosa

Few fine art photographers have accommodated phenomenology into their work in a more direct and enlightening way than Uta Barth (Berlin, 1958). The German-American photographer’s evident desire to redefine the act of looking in perceptual terms triggers questions that relate directly to the culture of the image and the meaning that looking imparts on the act of representation. It is a position that can possibly be traced back to her reading of two works that are central to the development of knowledge and aesthetic theory in the 20th century: Phenomenology of Perception (1945, translated into English in 1961) by the French Marxist Maurice Merleau-Ponty, and Art and Visual Perception: A Psychology of the Creative Eye (1958, revised and extended in 1974) by the German Gestalt psychologist Rudholf Arheim. The first of these works holds that is is the body—and not the conscience—that truly allows us to interpret reality and illuminate our subjective interpretation of the world through a biological mechanism shared by all human beings. The second breaks down the processes of perception and their relationship with the creation of all images aesthetics: from the differentiation between figure and background to mathematical composition strategies and the flaws and manipulations of perception required to represent a three-dimensional reality on a two-dimensional surface. In short, both works appeal to the eye and its perceptuial processes as the true source of an interpretation of reality or its replication as an image, which is then processed subjectively by the human brain and psyche. Barth’s work can largely be seen as a conscious affirmation of these hypotheses, which explain her importance to late 2-th-centiry contemporary photography.

Read more here.

Paul Winstanley: “IMAGES ARE HIGHLY FABRICATED INVENTIONS” →

Paul Winstanley | Rosanna Albertini’s The Kite

by Rosanna Albertini

Here I am, as the painter wrote, “the artists gets out of the way and leaves the viewer where once he stood.” I know Walkway is an image he reworked many times, each time a different painting in sync with a new state of his awareness of what he is doing. I use the present, as a sort of absolute time, separate from the fullness of things in which we loose the sense of our most intimate perception, and time steals our days. As I stand in front of the painting something from inside me is sucked in toward the silence of the white square at the end of the tunnel, so intense it is scary. The painting is, not the real physical place. Other humans have been there and marked their presence in graphic signs. The skin of the tunnel bears tattoos. Only in the painting they are indelible. But an un-human, vaguely pink-brown fog fights with the clarity of the white end. Forget reading. Only my soul can slide through the artist’s mental fog, and mine, maybe ours, in this damned 2026, where reason has lost her way.  “life seeps in unintentionally, subliminally” (PW)

‘Surface, translucency, light and space are all as one; they are indivisible. … a pure idea of the physicality and illusion of the painting.”  (PW)

On the wall, in the gallery, “ the subject of the painting has ceased to be the walkway or the trees but was instead the painting’s own mediation of these things.” (PW)

What I write here makes sense when we are in front of the painting, the 87 x 60 inches of a window whose semitransparent curtain filters the outside scenery and remakes it intensified on the floor. My brain, at first, was seeing nuances of gray as the dominant colors. My eyes were mimicking the curtain, tricky as they are. I stayed still for a while, waiting: and colors come to me.

As if the painting was waking from sleep. It was such a wonderful sensation that I liked to believe it was true for a second, a magical mutation. The one who was asleep was my brain, slowly making the colors out of the waves of light hitting the receptors at the door of my eyes. I am old, no surprise. You wrote it at page 94, dear artist, “Self-irony, or knowingness, is always present as part of nostalgia, even when we are tempted to think it is not.”

The viewer needs it as much as you. I continue to see the light blue and the pink in the sky that gives to the painting a vaguely luminous area taking off from the top of the trees, as if the end of foliage was a landscape line. The profile of earthly creatures. I want to be a bird in that sky.  

Read more here.

SUPERFLEX: There Are Other Fish In The Sea →

SUPERFLEX
April 14, 2026 – August 2, 2026 | Palazzo Strozzi, Florence

There Are Other Fish In the Sea, 2026, installation view. Photo by Ela Bialkowska, OKNO Studio. Courtesy of Fondazione Palazzo Strozzi, Florence. 

Fondazione Palazzo Strozzi was built as an enclosed home but has now been reimagined as a public square and a site for art. Consisting of eight columns standing amid the palazzo’s existing columns, There Are Other Fish In The Sea puts interspecies architecture into dialogue with the harmonious proportions and colonnaded courtyard of the palazzo. The work expands the notion of the public to include other species, while offering human visitors an opportunity to pause and reflect on the possibilities for interspecies living and coexistence.
 
As sea levels continue to rise, human buildings will soon be underwater. Because ocean biodiversity thrives around structures with an abundance of surface area, the building blocks of There Are Other Fish In The Sea are designed to feature many flat and irregularly-sized planes. Stackable and modular, the blocks can be used to construct art for humans and infrastructure for sea creatures.
 
The resulting pink columns are of uneven height: some reach toward the sky, and others are lower to the ground. The columns emerge from a dark pool of water which reflects both the sculptures and the sky above—as well as any visitors who look into it. The water is a reminder of the closeness of the river Arno and its relationship to the city. The columns also resemble flood markers, pointing to the history of flooding in the area (such as the great flood of 1966, exactly 60 years ago) and proposes a new way of building infrastructure in preparation for future flooding.
 
There Are Other Fish In The Sea transforms Palazzo Strozzi into an encounter between past and future. The once-innovative aspects of Renaissance architecture are reimagined as part of a future renaissance for fish.
 
There Are Other Fish In The Sea is promoted and organised by Fondazione Palazzo Strozzi and Fondazione Hillary Merkus Recordati. In collaboration with Kunsthal Spritten, Aalborg, Denmark. Special Partner: Fondazione Henraux.
Designed in collaboration with KWY.studio.

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Diana Thater in Inaugural Installation of LACMA's Collection at the New David Geffen Galleries →

Diana Thater
Opening April 19, 2026 | Los Angeles County Museum of Art

Visitors in the David Geffen Galleries, photo © Museum Associates/LACMA

Los Angeles County Museum of Art's David Geffen Galleries will open on April 19 with a ribbon-cutting celebration, marking the beginning of two weeks of priority member access to the galleries as well as a series of events. From April 19 through May 3, LACMA members and donors will have the opportunity to see the inaugural installation of the museum’s collection. 

Visitors will enjoy seeing artworks spanning the entirety of art history, including museum favorites: Georges de La Tour’s The Magdalen with the Smoking Flame (1640); Henri Matisse’s La Gerbe (1953); Antonio de Arellano and Manuel de Arellano’s Virgin of Guadalupe (Virgen de Guadalupe) (1691); and more. Notable recent acquisitions will also be on view, including Francis Bacon’s Three Studies of Lucian Freud (1969) and Vincent van Gogh’s Tarascon Stagecoach (1888). Adding to the presentation of art from around the world and across time are special commissions by Todd Gray, Lauren Halsey, Sarah Rosalena, Do Ho Suh, Diana Thater, and others. 

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Rirkrit Tiravanija in ‘A Thousand Ways to Be Berlin: Nationalgalerie Collection at Hamburger Bahnhof' →

Rirkrit Tiravanija
Opening June 12, 2026 | Hamburger Bahnhof, Berlin

Rirkrit Tiravanija, untitled 2010 (All the Days on the Autobahn), 2010, exhibition view, Hamburger Bahnhof – Nationalgalerie der Gegenwart 2018-2019 © Staatliche Museen zu Berlin, Nationalgalerie / Courtesy the artist / Foto: Thomas Bruns

Berlin is a place of ongoing movement and negotiation, where artistic, political, and migratory trajectories intersect. For its 30th anniversary, Hamburger Bahnhof presents its new iteration of the collection in the west wing, focusing on Berlin’s art scene in global dialogue from 1989 to today. Over 70 works by more than 50 artists, including paintings, drawings, sculptures, photographs, and video installations, reflect Berlin’s myth of hedonism and subculture in an international context.

Berlin is shaped by the city’s historical division, competing narratives, and the complexity of different forms of belonging. International artists living and working here transform the city into a microcosm of global political movements and crises. This interplay between art and the city is explored in the new collection presentation through works by Cemile Sahin, Katharina Grosse, Mona Hatoum, Pierre Huyghe, Rirkrit Tiravanija, Katharina Sieverding, Thomas Struth, Danh Vo, and many others.

For this new presentation, Hamburger Bahnhof continues its long-standing exchange with the art collection of the German Federal Government. The exhibition will be further enriched by a selection of new acquisitions. Familiar major works will be shown alongside others that have rarely, if ever, been shown before.

A Thousand Ways to Be Berlin: Nationalgalerie Collection at Hamburger Bahnhof' is curated by Sam Bardaouil, Director Hamburger Bahnhof – Nationalgalerie der Gegenwart, and Charlotte Knaup, Curator at Hamburger Bahnhof – Nationalgalerie der Gegenwart.

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Pae White: pushmi-pullyu →

Pae White
May 2 – August 8, 2026 | Galerie Neugerriemschneider, Berlin

Pae White, Untitled, 2026; Photo: Santiago Vega, Guadalajara.

In pushmi-pullyu at Galerie Neugerriemschneider, Berlin, Pae White presents a dazzling universe of creatures such as crabs, snails, flies, butterflies, and other insects, rendered in colorful thread paintings, tactile textiles, and vibrant ceramics.

The new works stem from White’s longstanding engagement with traditional materials andcraft techniques, whose possibilities she continually expands. The techniques featured in the exhibition include indigenoushandcrafts, Jacquard weaving, and experimental technologies, through which the artist depicts the animals as if viewed under a magnifying glass. Encouraging introspective reflection on our own relationship with nature, the compositions honor the overlooked:creatures that, despite their complexity, are usually perceived only marginally or not at all are brought into focus as bearers of visual andconceptual richness.

In an increasingly fragile world, White slows down the gaze in her artistic practice and focuses her attention to capture thefleeting beauty. Wafts of smoke, crumpled foil, popcorn, glistening water, and even the passage of timeare isolated for visual analysis, translated compositionally and materially, and recontextualized. A key elementof this approach is dichotomies and contradictions, such as those between craftsmanship and technology or between expectations ofthe respective media and objects. The latter are regularly subjected to a fundamental reevaluation as Whitequestions perception by imbuing the everyday with a new aura.

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Philippe Parreno in 'FRAGILITY – The Dance of Life and Death' →

Philippe Parreno
April 11 – July 4, 2026 | Spazio Per Arte, Palazzo Bellini, Oleggio

Poised between desire and dissolution, “FRAGILITY – The Dance of Life and Death” is born, a group exhibition that profoundly and prolifically explores the eternal dialogue between Eros and Thanatos, primary human drives, opposing and complementary symbols of life and death, libido and inhibition, harmony and discord, the organic and the inorganic, music and silence.

Through the works of numerous artists from different generations and disciplines and media—from photography to painting, video, sculpture, and installation—the exhibition deeply explores the fragile balance that, from that time, permeates our existence: that focal point where the creative force of Eros—understood as vital energy, desire, union, and generation, the driving force of art and science—is inextricably intertwined with the destructive instinct of Thanatos, a subterranean and ineluctable force, an expression of denial, deprivation, and transience. The exhibition unfolds throughout the entire SPA | Spazio Per Arte space like a disturbing dance, simultaneously visual and sensorial: a veritable alternation of tensions and harmonies, of forms that arise and then dissolve, of bodies that love and decay, of matter that stands as a symbol of our vulnerability. Each work thus becomes a testimony to the conflict and coexistence of opposites, in a time when human fragility emerges as a central theme, a mirror of an era marked by crisis, metamorphosis, and an increasingly frenetic search for meaning. "FRAGILITY – The Dance of Life and Death" does not intend to offer answers, but rather invites us to experience the interval between one heartbeat and the next, between the impulse that fuels the vital and the increasingly pressing propensity toward the most sinister of oblivions. A dizzyingly poetic and profoundly restless exploration of our condition, where art becomes body, thought, gesture, memory, and omen—beyond good and evil, driven by the spirit of music.

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Philippe Parreno and Douglas Gordon: Zidane, a 21st century portrait →

Philippe Parreno
June 11 – July 19, 2026 | The Guggenheim, New York

In its first public presentation at the Guggenheim New York, Zidane, a 21st century portrait will be shown on the occasion of the artwork’s twentieth anniversary and the 2026 FIFA World Cup hosted in North America, with matches in the New York metropolitan area. The two-channel video projection by Douglas Gordon (b. 1966, Glasgow, Scotland) and Philippe Parreno (b. 1964, Grenoble, France) follows the legendary French soccer star Zinédine Zidane in real time over the course of a single match played on April 23, 2005, at the Santiago Bernabéu Stadium in Madrid. Created by the artists and acquired by the Guggenheim in 2006, the ninety-minute piece will be screened on a continuous loop during museum hours in the Guggenheim’s Peter B. Lewis Theater.

Assembled from footage shot by seventeen synchronized cameras placed around the stadium, the film captures Zidane from multiple angles and remains fixed on him even when the central action of the match shifts elsewhere. By splicing in footage from the live television broadcast, Gordon and Parreno challenge viewers’ perception of spectacle and modern celebrity.

This video installation—one of seventeen unique versions of the work—introduces a further layer to the viewing experience. While one large projection displays the theatrical version of Gordon and Parreno’s film, raw footage from one of the seventeen cameras plays beside it on a second screen. At moments, the two streams synchronize and show the same image. This doubling, a recurrent feature in Gordon’s work, echoes the mass dissemination of the contemporary celebrity-hero and the role of collective memory in shaping iconic images from popular culture.

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Rirkrit Tiravanija: The House that Jack Built →

Rirkrit Tiravanija
March 26 – July 26, 2026 | Pirelli Hangar Bicocca, Milan

Exhibition view, Pirelli HangarBicocca, Milan, 2026. Courtesy the artist and Pirelli HangarBicocca, Milan. Photo Agostino Osio.

Rirkrit Tiravanija’s career retrospective The House that Jack Built, presented at Pirelli Hangar Bicocca and curated by Lucia Aspesi and Vicente Todolí, introduces the public to the artist’s thirty years of research into spatial and architectural practices.

The title refers to the famous 19th-century English nursery rhyme of the same name, which has a repetitive and cumulative structure. Contrary to what the title suggests, the rhyme does not recount the story of the house or its builder. Rather, it reveals how the house is indirectly connected to, and interacts with, the people and things around it. By evoking the rhyme, Tiravanija highlights a solid relationship with issues of authorship, a prevalent theme in his work. The artist conceives buildings as platforms, whose value is determined by their use and the people who inhabit them rather than by their form.

The exhibition showcases the largest collection of the artist’s architectural works to date, many of which are inspired by iconic buildings of celebrated architects associated with Modernism, including Sigurd Lewerentz, Le Corbusier, Rudolf Michael Schindler, Frederick Kiesler, Jean Prouvé, and Philip Johnson.

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