Philippe Parreno in 'STRANGE RULES' curated by Mat Dryhurst, Holly Herndon, and Hans Ulrich Obrist with Adriana Rispoli →

Philippe Parreno
May 4 – November 22, 2026 | Berggruen Arts & Culture, Palazzo Diedo, Venezia

Participating artists:

Joshua Citarella, Harold Cohen, Primavera De Filippi, Simon Denny with Venkatesh Rao, Stephanie Dinkins, Fabien Giraud, He Zike, Holly Herndon & Mat Dryhurst, Lynn Hershman Leeson, Ho Tzu Nyen, New Models, Ayoung Kim, Agnieszka Kurant, Michael Levin, Trevor Paglen, Philippe Parreno, Lorenzo Senni, Avery Singer, Ken Stanley, sub, terra0

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.

The project marks a significant evolution in the Palazzo’s mission to serve as a living site of contemporary production which brings the humanities and sciences together.

Strange Rules introduces the concept of Protocol Art, a practice that engages with the underlying rules that dictate how culture is produced, distributed, and perceived in a digital age. These rules frequently manifest as algorithms, artificial intelligence models, computer protocols, platforms, and various technological infrastructures. Protocol Art does not simply use these tools; it exposes, analyses, and transforms them into artistic material itself.

Consequently, the artwork is not merely a final product, it is a process governed by instructions, representing the invisible architecture that enables the aesthetic experience. This shift in perspective - moving from the object to the system, and from the singular author to collaboration and ultimately human-machine co-creation - defines one of the most urgent territories in contemporary research.

The launch of Strange Rules inaugurates Palazzo Diedo, Venice, as the first space in Italy to foster a curatorial and theoretical reflection on Protocol Art, positioning itself at the forefront of the debate regarding the relationship between art and technology.

Alongside the exhibition, a major new publication will establish the first comprehensive account of Protocol Art as a field of practice. Research for this landmark volume will unfold throughout the duration of Strange Rules, with Palazzo Diedo serving as both exhibition site and working research environment. The resulting book aims to be a defining reference for Protocol Art, mapping its key works, practitioners, and theoretical foundations across art and technology.

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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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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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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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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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Angela Bulloch, Ann Veronica Janssens & Philippe Parreno in 'Winter 2026' →

Angela Bulloch, Ann Veronica Janssens, & Philippe Parreno
January 20 – February 28, 2026 | Esther Schipper, Berlin

Philippe Parreno
The Crawler, 2024
Concrete tiles and base, steel track, glass shell, sensors, motors, lights, cables, computer
Steel pole: 300 x 91 x 103 cm
Glass shell: 68 x 37 x 28 cm

Over four decades ago, Gil Scott-Heron observed that – “politically, and philosophically, and psychologically” – there was only one prevailing season, “the season of ice”; words that, without doubt, mirror the current atmosphere. While the winter solstice promises the gradual return of light, days remain swayed in darkness for weeks on end. Though tiresome, this long night opens a space for introspection, even spurs the fire in one’s belly. Winter, for Scott-Heron, signified a state of frozen aspiration and inspiration. Yet this bitter condition provoked a moody, by now iconic, song that he liked to perform seasoned with a grain of salt. In this vein, and uncovering the creative underbelly of such chilled times, the works on view navigate the uncanny and the cosmic across decades, centuries, even millennials. They draw on a fossilized, charred, or blurred past and envision smart, weird, or weirdly rosy nurseries of the future; their aesthetics converge at a dense point of thick materiality and precise formal execution. Light fractures the exhibition space, transforming it into a chiaroscuro landscape suffused by shadow and spotlight. 

Winter 2026 brings together works by Saâdane Afif, Rosa Barba, Angela Bulloch, Julius von Bismarck, Martin Boyce, Etienne Chambaud, Thomas Demand, Ryan Gander, Dominique Gonzalez-Foerster, Pierre Huyghe, Ann Veronica Janssens, Lee Bae, Sojourner Truth Parsons, Philippe Parreno, Anri Sala, and Anicka Yi. 

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Ann Veronica Janssens and Philippe Parreno in 'Highlights from the Permanent Collection' →

Ann Veronica Janssens, Philippe Parreno
November 22, 2025 – June 25, 2026 | The PoMo Collection, Trondheim

The newly established PoMo Collection is growing rapidly. The collection is constantly evolving, with new works that contribute to its relevance, distinctiveness and high international quality. We are also committed to ensuring that the collection represents a wide diversity of artists, across gender, generations, backgrounds and artistic expressions. In this way, the works reflect the cultural and political shifts of our time, while maintaining a timeless relevance.

The presentation also offers a first encounter with new acquisitions, including the installation Amber, Pink and Wisteria (2025) by Ann Veronica Janssens, one of the artist’s iconic fog rooms. Here, you are invited to step inside the artwork itself and experience how time and space dissolve in a symphony of colour. The piece has been site specifically developed for PoMo in collaboration with the artist, who is already represented in the collection with her luminous glass works Sunset B, CL2E354 and CL2 (2020).

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

Angella Bulloch, 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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Rirkrit Tiravanija and Philippe Parreno in Prism of the Real: Making Art in Japan 1989-2010 →

Rirkrit Tiravanija, Philippe Parreno
September 3 - December 8, 2025 | The National Art Center, Tokyo

Prism of the Real examines the practices of more than 50 artists from Japan and abroad. It explores both the art that emerged in Japan and how Japanese culture inspired the world between 1989, when the Shōwa era (1926–1989) ended and the Heisei era (1989–2019) began, and 2010.

These two decades saw the end of the Cold War and the advent of contemporary globalization, enabling the freer movement of people, goods, and information, and greatly encouraging international dialogue and engagement. Throughout this period, artists in Japan and elsewhere pursued new approaches, acting as prisms that refracted the social and cultural currents of the time into works that pose diverse questions. Co-curated by The National Art Center, Tokyo and M+, Hong Kong, this exhibition reflects on this critical transitional period through the lens of art. It presents a multifaceted view in which multiple histories and contexts coexist, while looking at Japan as a platform for artistic creation from both national and international perspectives.

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Philippe Parreno at Andersen’s →

Philippe Parreno
August 22 – October 25, 2025 | Andersen’s, Copenhagen

The exhibition is the first solo show in Denmark by internationally acclaimed French artist Philippe Parreno. Parreno works in a diverse range of media including film, sculpture, drawing, and text.

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Philippe Parreno: Between Difficulty and Possibility →

Philippe Parreno | ArtReview

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

by Martin Herbert

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

Read more here.

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

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

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

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

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

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Ann Veronica Janssens and Philippe Parreno in Postcards from the Future →

Ann Veronica Janssens, Philippe Parreno
February 15 - June 22, 2025 | PoMo, Trondheim

Ann Veronica Janssens, Senset B, CL2E354 and CL2 (all 2020). PoMo Collection. Courtesy Ann VEronica Janssens / BONO 2025.

History meets the present as PoMo opens its doors once again in Trondheim’s historic main post office building. The inaugural exhibition, Postcards from the Future, showcases spectacular works from the museum’s own collection for the very first time as well as loaned works from both national and international museums, as well as private collections.

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Philippe Parreno in Fuera de Marco at Fundación "la Caixa" Barcelona →

Philippe Parreno
February 5 – October 26, 2025 | Fundación "la Caixa" Barcelona

Philippe Parreno, video still from La quinta del sordo, 2021. © Atelier Philippe Parreno © Museo Nacional del Prado © Andrea Rossetti. Colection of Arte Contemporáneo Fundación “la Caixa”.

In Fuera de Marco at Fundación "la Caixa" Barcelona, is Rineke Dijkstra and Parreno’s joint exhibition which takes an unprecedented approach to Goya's black paintings and Rembrandt's Night Round.

Rineke Dijkstra's Night Watching is a video installation that records the comments of different people while watching Rembrandt's night round, without ever seeing it. There are those who link such painting to their own life or examine it in the historical context of art. On the other hand, the immersive film The Fifth of the Deaf, by Philippe Parreno, takes us to the house where Goya created his black paintings, recreating a space that no longer exists.

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

Philippe Parreno | NewScientist

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

By David Stock

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

Read more here.

Fondation Beyeler’s 'What Time Is Heaven?' Show Is in Constant Transformation →

Philippe Parreno | Hypebeast

Philippe Parreno, Membrane, 2023 and Fujiko Nakaya, Untitled, 2024. Installation view, Fondation Beyeler, 2024. Courtesy: the artists. Photo: Mark Niedermann

By Keith Estiler

Organized in collaboration with the LUMA Foundation and conceived by a team including Sam Keller, Mouna Mekouar, Isabela Mora, Hans Ulrich Obrist, Precious Okoyomon, Philippe Parreno, and Tino Sehgal, ‘What Time is Heaven?’ offers an evolving spectacle rather than a static collection that is now on view through August 11, 2024.

Read more here.

Philippe Parreno to transform the entire Haus Der Kunst with fully driven AI exhibition. →

Philippe Parreno | FAD News

Philippe Parreno, My Room Is Another Fish Bowl, 2018, Helium–filled Mylar balloons, adhesive foil , air columns, Variable dimensions . Exhibition view : Philippe Parreno, Gropius Bau,Berlin (2018). Courtesy the artist; Pilar Corrias, London; Gladstone Gallery, New York and Brussels; Esther Schipper, Berlin/Paris/Seoul. Photo © Andrea Rossetti

By Mark Westall

As part of a groundbreaking new collaboration with Leeum Museum of Art in Seoul, Haus der Kunst, Munich’s global centre for contemporary art, will present a major exhibition by the internationally acclaimed French artist, Philippe Parreno, a multi-media, multi-sensory installation on a giant scale that will take over the entire gallery spaces from the end of November 2024.

Philippe Parreno has revolutionised the experience of museums. The exhibition will encompass Parreno’s key works and early works from the 1990s in multiple media ranging from video and sound to sculpture and drawing, created in collaboration with graphic designers, photographers, musicians, linguists, sound specialists, and actors, among others.

Throughout the exhibition, voices will play a fundamental role in bringing the building of Haus der Kunst to life. The Mittelhalle and Ostgalerie will become a resonating organism of light and sounds, featuring installations, films, new works and collaborations with peer artists.

Read More Here.

Philippe Parreno appointed Artistic Director of the 2025 Okayama Art Summit →

Philippe Parreno | Okayama Art Summit

Portrait of Philippe Parreno. Photo © Ola Rindal

The Okayama Art Summit Executive Committee (Chairperson: Masao Omori, Mayor of Okayama) appointed Philippe Parreno as the Artistic Director for Okayama Art Summit 2025, the international contemporary art exhibition which is held every 3 years in Okayama City, Japan, at its General Meeting held on October 24, 2023.
In addition, Shimabuku has been appointed as the Artistic Translator by Parreno. Parreno emphasized the importance of the new role of an "Artistic Translator" who shares the sense of the exhibition concept, in order to connect it with others. He recognized Shimabuku's familiarity with the direction of the artistic world and their existing relationship.

Read More About The Summit Here

Writing Practice: On Literature →

Philippe Parreno | ArtReview

Installation view: Philippe Parreno - Marilyn (2012).

By Adam Thirlwell

I have this feeling that everyone dislikes literature. Not reading and not writing, both of those are practices that many people enjoy; but somehow when these two come together they form literature, and then everyone dislikes it. I wonder why this is. I know that I want so much from this word literature. I want it to do so much work, whereas it mainly seems to do no work at all. It sounds dour and demented in a way that art doesn’t. Art sounds bright and fizzing and susceptible to anything new. Literature doesn’t. Literature sounds reactionary.

Maybe the better word for what I want is just writing and I should abandon literature as a word. If you plug literature into some game of word association, what would first come into my head is a line by Paul Verlaine that ends his poem ‘Art poétique’ (1874), a poem in which he defines what he wants from poetry, which seems to be music and the refusal of meaning. And then, devastatingly, he concludes: Everything else is literature, which still seems irrefutable in its dismissiveness.

Read More Here