Philippe Parreno: 5 Moons →

Philippe Parreno
November 21, 2026 – April 27, 2027 | Museum of Contemporary Art Australia, Sydney

Installation view, Philippe Parreno, Gropius Bau, Berlin, 2018, image courtesy of the artist, photograph: © Andrea Rosetti

Enter a world shaped by immersive environments, unpredictable atmospheres and ever-evolving scenes. Philippe Parreno is a pivotal figure of contemporary art, describing himself not as an artist, but as an ‘exhibition producer’ – orchestrating places and spaces that think, respond and unfold over time.

Drawing on the timeless presence of the moon as our constant companion through life, Philippe Parreno: 5 Moons will celebrate how the MCA – and its iconic Warrane/Sydney Harbour location – waxes and wanes over five months.

Parreno brings the museum alive across multiple floors in a dynamic, scripted production that mixes and merges film, audio, installation, objects, text, drawing and advanced technologies, including AI and robotics, to create an experience that is never the same twice.

Philippe Parreno: 5 Moons is curated by Suzanne Cotter, Anna Davis and Tim Riley Walsh.

The exhibition is supported by the NSW Government through Destination NSW.

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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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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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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: The House that Jack Built →

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

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 will showcase 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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Ana Prvački in 'Iliggocene: The Age of Dizziness ' →

Ana Prvački
March 22 – July 26, 2026 | KINDL Centre for Contemporary Art, Berlin

In times of polycrisis, the acute experience of a continuous state of exception leads to a confusing and frustrating condition, characterised by an inadequacy of language and other forms of connective possibility and contextualisation. Iliggocene – The Age of Dizziness proposes artistic positions that seek new vocabularies for these states of dizziness.

Curated by Sergio Edelsztein, Ruth Anderwald, & Leonhard Grond, features Amanda Beech, Dominique Savitri Bonarjee, Colectivo Los Ingrávidos, Davide Deriu, Cao Fei, Tim Etchells, Christian Falsnaes, Julia Fiedorczuk, Dani Gal, María Auxiliadora Gálvez Pérez, William Gibson, Alexandra Grant, Eiko Grimberg, Jack Halberstam, Anna Kim, Daniel Meir, Ari Benjamin Meyers, Warren Neidich, João Onofre, Ana Prvački, Lucy Railton, Saas-Fee Summer Institute of Art, John Smith, Liv Schulman, Stefanie Schwarz & Dirk Wachowiak, Alexander Stahn, Marcus Steinweg, Dimitri Venkov, Catherine Yass, & Ruth Anderwald + Leonhard Grond.

On 22 March, Prvački will present a lecture/performance entitled How Sex Keeps Us from Floating Away as a part of the exhibition’s discursive program, held in cooperation with the KW Institute for Contemporary Art at the KW Institute, Berlin.

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Fiona Banner aka The Vanity Press: Every Word Unmade →

Fiona Banner aka The Vanity Press
March 21 – April 25, 2026 | The Common Guild, Glasgow

Fiona Banner aka The Vanity Press, Every Word Unmade, 2006-2007 (detail). Artwork courtesy the David and Indrė Roberts Collection.

The Common Guild’s first exhibition of 2026 is the first in a new, annual series, entitled ‘Studies’, developed in conjunction with the Roberts Institute of Art. Each exhibition will draw from the collection to present key works by major artists. ‘Studies’ centers upon well-established artistic practices and works made in the 1990s – 2000s that particularly connect with present. The first exhibition in the series is focused on a work by Fiona Banner aka The Vanity Press. 

‘Every Word Unmade’ (2006–2007) is a neon alphabet, very evidently hand-made by the artist, who bent hot glass into the 26 letter forms of the alphabet. The struggle against and with the medium, and with language itself is evident. As Banner has said, “words are extensions of our physical selves, so I started to explore the physicality of words.”

It is a work, like many of Banner’s, about communication and the building blocks of language: here the fragile and faltering letter forms are combined, in its use of neon, with the seductive language of the street and commerce. Every Word Unmade represented a departure from Banner’s densely verbal work that addressed the myths and narratives of conflict – a playful attempt to denude language of its manipulative power. Every Word Unmade is accompanied by a small selection of related works by the artist.

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Philippe Parreno in 'New Humans: Memories of the Future' →

Philippe Parreno
Opening March 21, 2026 | The New Museum, New York

New Humans: Memories of the Future will inaugurate the New Museum’s expanded building with an exploration of artists’ enduring preoccupation with what it means to be human in the face of sweeping technological changes. New Humans will trace a diagonal history of the twentieth and twenty-first centuries through the work of more than 150 international artists, writers, scientists, architects, and filmmakers, highlighting key moments when dramatic technological and social changes spurred new conceptions of humanity and new visions for its possible futures.

Presenting new and recent works by artists including Sophia Al-Maria, Lucy Beech, Meriem Bennani, Cyprien Gaillard, Pierre Huyghe, Tau Lewis, Daria Martin, Wangechi Mutu, Precious Okoyomon, Berenice Olmedo, Philippe Parreno, Hito Steyerl, Jamian Juliano-Villani, Andro Wekua, and Anicka Yi in the context of works by twentieth century artists and cultural figures such as Francis Bacon, Constant Nieuwenhuys, Salvador Dalí, Ibrahim El-Salahi, H.R. Giger, Kiki Kogelnik, Hannah Höch, Tatsuo Ikeda, Gyula Kosice, El Lissitzky, Lennart Nilsson, Eduardo Paolozzi, Carlo Rambaldi, Germaine Richier, and Elsa von Freytag-Loringhoven, New Humans illuminates artists’ evolving visions of the future. The exhibition surveys the myriad shapes that humanity might take, from robots and cyborgs to haunting, seemingly alien life forms, and moves beyond the field of art by bringing together utopian architects, sci-fi filmmakers, and eccentric writers who imagine physical, virtual, and even post-human worlds. In an age when technological advancements and their unintended consequences seem to be accelerating at uncontrollable rates, New Humans proposes art as a collective form of creative prognostication—a vital self-portrait of the humans we may become.

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Jessica Stockholder Bestowed the 2026 Award of Merit Medal by the American Academy of Arts and Letters →

Jessica Stockholder
March 17, 2026 | The American Academy of Arts and Letters

Each year the American Academy of Arts and Letters honors over 70 architects, visual artists, writers, and composers with awards accompanied by monetary prizes.

The American Academy of Arts and Letters’s Award of Merit Medal is given each year, in rotation, to outstanding American painters, short story writers, sculptors, novelists, poets, and playwrights. The first Award of Merit Medal for Sculpture was given in 1943.

This year, the Award of Merit Medal in Sculpture is being given to Jessica Stockholder.

Jessica Stockholder (b. 1959, Seattle, Washingon) studied painting at the University of British Columbia, Vancouver, and received an MFA from Yale University. Stockholder is a pioneer of multimedia genre-bending installations that have become a prominent language in contemporary art. Her site-specific interventions and autonomous floor and wall pieces have been described as “paintings in space.” Stockholder’s complex installations incorporate the architecture in which they have been conceived, blanketing the floor, scaling walls and ceiling, and even spilling out of windows, through doors, and into the surrounding landscape.

“I began, and still do begin, with a love for color and unrelenting interest in the intersection of a pictorial way of looking, (or thinking,) with the physical matter of the body and the materiality of things in space.” – Jessica Stockholder

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Diana Thater in 'Post Fire 1' →

Diana Thater
March 13 – June 1, 2026 | Des Artists, Culver City

Photo Credit: Deen Babakhyi

One year after the devastating Eaton and Palisades fires, 22 artists reflect and forge a new way forward.

Post-Fire 1 is the first installment of an annual group show, planned for the next 4 years at 6006 Washington Blvd in Culver City. The intent of the Post-Fire series is to showcase and support artists who have experienced the traumatic loss of homes and studios. All proceeds from sales will go to the artists, with Des Artistes taking no sales commission.

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Rirkrit Tiravanija: SAY YES TO EVERYTHING →

Rirkrit Tiravanija
March 7 – May 9, 2026 | STPI, Singapore

Rirkrit Tiravanija has had a long relationship with STPI, resulting in multiple residences in 2012, 2015, 2020 and 2022. His 2012 residency culminated in the exhibition Time Travelers Chronicle (Doubt): 2014 – 802,701 A.D. (2014), while his 2015 residency led to the group exhibition Exquisite Trust (Blindly Collective Collaborations) (2017) with artists Carston Höller, Tobias Rehberger and Anri Sala. His 2020 and 2022 residencies resulted in the exhibition We Don’t Recognise What We Don’t See (2023), curated by Hans Ulrich Obrist.

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Petra Cortright in 'Maqueta para un lugar que no existe' →

Petra Cortright
March 6 – April 20, 2026 | Proyecto Reme – La Caja, Madrid

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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Kirsten Everberg and Pae White in ‘Rhapsody: Works from the Cooper Rosenwasser Collection' →

Kirsten Everberg & Pae White
March 4 – June 28, 2026 | Berkeley Art Museum and Pacific Film Archive

Installation view of Rhapsody: Works from the Cooper Rosenwasser Collection, March 4–June 28, 2026, at the Berkeley Art Museum and Pacific Film Archive (BAMPFA), Berkeley, CA. Photo: Chris Grunder.

'Rhapsody: Works from the Cooper Rosenwasser Collection', at the Berkeley Art Museum and Pacific Film Archive is curated by Margot Norton, Chief Curator. The exhibition presents paintings, drawings, prints, sculpture, and photographs from the collection of Penny Cooper and Rena Rosenwasser, which are part of a generous bequest to the BAMPFA Collection.

Penny Cooper, a celebrated defense criminal defense attorney and advocate for social justice, and Rena Rosenwasser, a poet and cofounder of the Bay Area-based feminist publishing house Kelsey Street Press, have been longtime supporters of BAMPFA and champions of women artists for six decades.

Arranged into groupings reflecting themes such as abstraction, design, and representations of the body, the exhibition reflects both the dynamism of artmaking over the last half century and the close personal relationships that the couple has developed with artists, many of whom have exhibited at BAMPFA.

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Philippe Parreno in 'Clair-obscur' →

Philippe Parreno
Opening 4 March | Pinault Collection at The Bourse de Commerce, Paris

“A contemporary is someone who, in taking a look at his era, surveys the shadows instead of the lights. All times are dark for those who experience their contemporaneity. Thus, a contemporary is someone who knows how to see this darkness, who is able to write by dipping his pen in the darkness of the present”. — Giorgio Agamben

Using the Italian philosopher Giorgio Agamben’s thoughts as a starting point, the exhibition "Clair-obscur" takes its title from the famous technique of chiaroscuro that first emerged in Mannerist and Baroque paintings in the sixteenth century, most notably in the works of Caravaggio, who intensified its use, plunging the earthly world into a deep darkness penetrated by rays of light that heighten the sense of dramatic tension and the spiritual questions underlying his paintings. "Clair-obscur" explores the legacy of chiaroscuro as it resonates in the present day. The Bourse de Commerce has been transformed into a luminous and crepuscular landscape, offering visitors a sensory experience in which the visible meets the invisible.

Philippe Parreno, who reinterprets the black paintings of the Quinta del Sordo by candlelight, reminds us how much this alchemical cycle opened the floodgates of our modern sensibility. Chiaroscuro thus emerges as a renewed visual and symbolic language, a narrative device, and a philosophical principle. It expresses the materiality of light and the shadow areas of our subconscious, thus transforming our sense of the visible and the invisible. 

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Petra Cortright in 'Sizzler' curated by Grant Edward Tyler →

Petra Cortright
March 1 – April 12, 2026 | The Former Sizzler Building, 6145 Wilshire Blvd.

Grant Edward Tyler has curated a group show at the abandoned Sizzler on 6145 Wilshire Blvd.

Petra Cortright is featured alongside Adam Alessi, Jonathan Apgar, Ida Badal, Bjarne Bare, Nora Berman, Connor Camburn, Ánima Correa, Phil Davis, Jake Fagundo, Joe Fastiggi, Christian Franzen, Maggie Friedman, Jackson Hunt, Parker Ito, Justin John Greene, Lara Joy Evans, Aaron Jupin, Friedrich Kunath, Chris Lux, Orion Martin, Calvin Miceli Nelson, Johann Mun, Justin Ortiz, Lauren Quin, Jon Rafman, Dogperson39, Anja Salonen, Asha Schechter, Noah Schneiderman, Nicolas Shake, Ross Simonini, Michelle Song, Kate Spencer Stewart, Naoki Sutter Shudo, Marika Thunder, Julia Yerger, and Haniko Zahra.

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Rirkrit Tiravanija in ‘Is There No Place Like Home? MUSAC Collection' →

Rirkrit Tiravanija
February 28, 2026 - February 7, 2027 | Museo de Arte Contemporáneo de Castillo de León

In recent years, access to housing, the difficulty of gaining financial independence, rural depopulation, internal and external migration, and changing models of coexistence are profoundly reshaping what it means to inhabit a space. Intense and prolonged periods of cohabitation—whether driven by economic pressures, social dynamics or personal circumstances—have revealed tensions, contradictions and vulnerabilities inherent to the idea of home. For some, it is a place of refuge and safety; for others, it can become a space of constraint, insecurity or exclusion. 

Is There No Place Like Home?, curated by Monserrat Pis Marcos, questions this dogma at a time when housing has emerged as one of the primary social concerns in Spain. The exhibition examines the concept of home as something unstable and multifaceted, shaped by social conditions, cultural expectations, emotional experiences and lived realities. Combining wall-based works, installations and audiovisual material, the show explores this notion from multiple angles: the missed or unattainable home, the idealised home, the physical and the mental home, the fragile home, the dangerous home and the unstable home. The wide range of artistic perspectives included in the MUSAC collection is complemented by four newly commissioned contemporary interventions that will be added to the exhibition in the course of 2026, produced by Cestola (Xoana Almar and Miguel Peralta), Tito Pérez Mora, Sara Alonso and Lara Ruiz. This constellation of viewpoints also considers those without a home, those who have left home behind, and those who seek or reinvent home.

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Rirkrit Tiravanija in ‘Studio Visit’ →

Rirkrit Tiravanija
February 27 – April 11, 2026 | Hauser & Wirth, New York Wooster Street

‘Studio Visit’ is an exhibition in partnership with Performance Space New York—a nonprofit organization that since 1980 has served as a laboratory for cultural experimentation and artistic dissent, featuring American Artist, Jean-Michel Basquiat, Huma Bhabha, Black Quantum Futurism, Cecily Brown, Nicole Eisenman, Jason Fox, Nikita Gale, Georgia Gardner Gray, Josh Kline, Ella Kruglyanskaya, Carolyn Lazard, Guadalupe Maravilla, Paul McCarthy, New Red Order, Monira Al Qadiri, Farah Al Qasimi, Jesús Hilario-Reyes, Alicia Riccio, Tschabalala Self, Avery Singer, Tavares Strachan, Sung Tieu, Wolfgang Tillmans, Rirkrit Tiravanija, Ambera Wellmann, & Anicka Yi.

‘Studio Visit’ foregrounds the studio as material infrastructure and conceptual site. The project centers on the studio not as a private enclave of production, but as part of a larger generative field in which identities are formed, solidarities are tested and economies emerge. Artist studios often flock together in larger buildings and neighborhoods. Community and dialogue—and invitations to visit each other’s studios—often grow out of chance encounters between young artists brought into close proximity by real estate.

Yi and Kline consider the artists participating in the exhibition their collaborators and co-authors. In addition to lending work for the exhibition, each artist was asked to describe in writing the studios or their studio practices they occupied at early, formative stages in their career.

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Pae White Unveils Ring Collection for Vhernier →

Pae White | Cultured Magazine

Pae White for Vhernier. Photo: Erdna Creative.

by Mila Diaz-Szymczak

During LA Art Week, multidisciplinary artist Pae White and Milanese jeweler Vhernier unveiled a limited edition ring collection that makes the case for jewelry as serious sculpture.

The Scene: Another Frieze LA descended on Southern California this week, and with it came a slew of coveted invitations, including Vhernier’s elegant private reception unveiling of its new collection designed by LA-based multidisciplinary artist Pae White. The worlds of contemporary art, high jewelry, and serious collecting converged with the kind of easy chemistry that only LA, at its very best, can produce.

The Crowd: The evening was hosted by esteemed collector and founder of Museo Jumex Eugenio López, as guests were welcomed by Pae White, Vhernier CEO Gianluca Brozzetti and Vhernier US President Carlo Traglio. Meanwhile, a truly global slew flocked to the event including MOCA board chair Carolyn Powers, gallerist Francesca Kaufmann of Kaufmann Repetto, French curator and Galerie XII founder Valérie-Anne Giscard d’Estaing, power stylist Petra Flannery, Syrian-Swedish visual artist Jwan Yosef, houseware entrepreneur Zoe de Givenchy, Belgian photographer Guillaume Roemaet, Brazilian supermodel Daniela Braga, luxury communications founder Cristiana Viganò, collector Graham Steele, Chanel’s President of Arts, Culture & Heritage Yana Peel, painter Marco Lorenzetto and more.

The Occasion: 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. 

Read more here.

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

Uta Barth and 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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Kerry Tribe in 'Hollis Frampton: From Form to Idea to Form of Idea' →

Kerry Tribe
February 19, 2026 at 6pm | The University of Chicago Center in Paris

Kerry Tribe, Critical Mass, 2013, Single channel video with sound, 25 min approx (Edition of 5)

A segment of Kerry Tribe’s Critical Mass (2010-2013) is included in Axioms of Vision: Echoes of Hollis Frampton, part of the larger symposium Hollis Frampton: From Form to Idea to Form of Idea organized in partnership between Service de la collection film, Musée national d’art moderne - Centre Pompidou / CERILAC, Université Paris Cité / IRCAV, Sorbonne Nouvelle / LESA, Aix-Marseille Université / The University of Chicago Center in Paris / Université de Montréal / UQAM / York University (Toronto) / IUF (Institut Universitaire de France).

Axioms of Vision: Echoes of Hollis Frampton features a selection of moving image works that approach Hollis Frampton’s films as a set of propositions that test the limits of the formal systems he developed. The screening is curated and introduced by Clint Enns. Frampton’s rigorous investigations into the material and conceptual limits of cinema—film as language, as system, as thinking—provide both the scaffolding and the provocation for the program. Some works adopt his structural clarity with near-devotional precision, while others answer with satire or mischief, pulling at the threads of his seriousness to expose its comic underside. In this oscillation between homage and parody, the program resists the stability of a single reading, instead staging a field of echoes, ruptures, and counterpoints. What emerges is not a monument to Frampton but a living dialogue, where his axioms become function as invitations—coordinates for reimagining the possibilities of vision itself.

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