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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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: (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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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 programme 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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Stolon Press’s 'Hustle Culture' screened at 'Of Mountains and Seas' at Asia Now, Paris →

Stolon Press (Simryn Gill and Tom Melick)
October 25, 5:30-8:00pm | Asia Now 2025, La Monnaie de Paris

Stolon Press, Hustle Culture (video and publication), 2024
Single-channel video, 1:00:36
Commissioned by Lahore Biennale Foundation
Made possible with the support of Creative Australia

Complementing Lahore Biennale Foundation’s presentation of artworks in the Monnaie de Paris, Asia Now also presents a video program from Of Mountains and Seas, the 2024 edition, featuring video commissioned by the Lahore Biennale Foundation from Bani Abidi, Stolon Press (Simryn Gill and Tom Melick), Niamat Nigar, Fazal Rizvi, and Zheng Bo, as well as works by Gidree Bawlee. The program, like the works on view throughout the Monnaie de Paris, offer a vision of ecological awareness from Asian perspectives. Powered by the French Embassy to Pakistan.

Stolon Press’s Hustle Culture is a record made of the daily life around three bird baths placed under a chaste tree and a tamarind tree, in a small garden, in a small town in Malaysia. The visitors to the baths vary—sunbirds, fantails, swallows, an occasional tailorbird, maybe even a kingfisher or oriole, a toad, as well the neighborhood’s fat cat. The baths are washed and refilled regularly; sometimes there are no visitors at all, save for a floating feather; the camera is too slow or too fast, too impatient, or badly positioned. Instead of a story or plot, there is rhythm, fluttering, and a daily patterning. The video is accompanied by an eponymous publication produced with typists in Lahore.

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Diana Thater at “Inspirations – Five Practices" Symposium →

Diana Thater
October 25, 2025 | Tulane School of Architecture and Built Environment, Richardson Memorial Hall, New Oreleans

Top L-R: Carol Reese, Deborah Berke, Mary McLeod. Bottom L-R: Amy Murphy, Joan Ockman, Diana Thater. Images courtesy of Tulane School of Architecture and Built Environment

“Inspirations—Five Practices” is a one-day symposium that promotes the 2025-2026 Tulane School of Architecture and Built Environment's Lecture Series and Public Programs theme “Common Good,” which is also the title and theme of the school's upcoming issue of The ReView book. It brings together five women who have made outstanding contributions through their award-winning works of art, architecture, theory, and scholarship. Educating and inspiring thousands of university students, they have had wide-ranging influence in the academy and beyond. Over the course of the day, each will present perspectives on the ways in which she has endeavored to address issues in support of the common good.

Organized by Carol McMichael Reese, Emerita Professor, Tulane School of Architecture and Built Environment, the symposium features invited speakers: Deborah Berke, Yale University School of Architecture, TenBerke; Mary McLeod, Columbia University Graduate School of Architecture, Planning, and Preservation; Amy Murphy, University of Southern California School of Architecture; Joan Ockman, University of Pennsylvania Weitzman School of Design; and Diana Thater, ArtCenter College of Design.

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Rirkrit Tiravanija: In Aliens We Trust →

Rirkrit Tiravanija
October 20 - November 22, 2025 | Galerie Chantal Crousel, Paris

Rirkrit Tiravanija, untitled (the savage detectives) (or the chorus that includes, the muses of visceral realism, the beautiful Font sisters; their father, an architect interned in a Mexico City asylum; a sensitive young follower of Octavio Paz; a foul-mouthed American graduate student; a French girl with a taste for the Marquis de Sade; the great-granddaughter of Leon Trotsky; a Chilean stowaway with a mystical gift for numbers; the anorexic heiress to a Mexican underwear empire; an Argentinian photojournalist in Angola; and assorted hangers-on, detractors, critics, lovers, employers, vagabonds, real-life literary figures, and random acquaintances.), 2025

Rirkrit Tiravanija’s works have always defied notions of singular authorship, not only when they are shaped by the gathering of people, their agency and interactions. In his highly citational practice, art history is understood as something generative: by way of reenacting, making use of and copying existing artworks, both his own and by other artists, Tiravanija continues to destabilize the status of the discrete object and expand the capacities of the readymade (the readymade not merely as a physical object, but also as a formation of preconceived ideas and sets of practices that are readily available in society). Some of Tiravanija’s earliest works, as well as most recent ones, can be read as counter-motions to the commodification of life, critiquing the dichotomies that Western taxonomic knowledge systems have constructed: Nature/Culture, Human/non-human, Artwork/Artifact, Civilized/Savage.

Staring at a metal object on the gallery’s floor are two hairy figures, face to face, who seem to have escaped an ethnological diorama. Mimicking the Spider-Man posture of professional golfer Camilo Villegas, the life-sized sculpture portrays Rirkrit Tiravanija and artist friend Udomsak Krisanamis rendered as prehistoric creatures—almost human. Effigies have appeared in Tiravanija’s work before (infamously, he has even employed a doppelganger), while others of his self-portraits incorporate artifacts as proxies for the artist’s body, negotiating the meaning of its absence or presence. Lying between the two figures is a steel comb, an almost exact replica of the one Marcel Duchamp first conceived as an artwork at 11 a.m. on February 17, 1916. Art historians have debated the original purpose of this particular model, but what’s certain is that it was not designed to comb human hair. 

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A Funkier, Feminist Form of Pattern and Decoration →

Judy Ledgerwood | Hyperallergic

Judy Ledgerwood, "Golden Hour" (2025), oil on canvas, 84 × 96 inches

by John YauIt was immediately apparent when I walked into Gray Gallery’s spacious, living room-like uptown space that the dimensions of the four paintings in Judy Ledgerwood’s exhibition were determined by those of the walls on which they hung. A single work occupied two of the walls, while two equally sized canvases held a dialogue on the third.

Ledgerwood’s manipulation of formal structure within individual works accelerated my appreciation of her play with dimensions, from the skewed linear grid of unequal triangles occupied by a hand-drawn trefoil in “Vitamin C” (all works 2025) to the vibrant opticality of different trefoils, some of them mirrored, dispersed across a monochromatic ground in “Crepuscolo.” Hung on opposite walls, this pairing made me look more closely at how each of the four paintings talked to each other as well as held their own ground.

I have always thought of Ledgerwood as a consummate painter who transformed the rigidity of Pattern and Decoration’s reliance on repetition into a mode of improvisation and surprise. The eye-opener was the manner in which she undid the movement’s decorous decorum into something fanciful, forthright, and frankly vulgar. This goes back to Willem de Kooning’s ostentatious nudes and their trace of misogyny, which Ledgerwood also upends. The quatrefoils and trefoils we see in her paintings are comical evocations of female genitalia, a bad boy’s graffiti on a bathroom wall. I once compared them to “Henri Matisse’s cut-outs […] romanced by anthropomorphic cartoon mice.” And yet, what we see is not vulgarity, but the frank celebration of female sexuality. I am reminded of something the painter David Reed once said to his dealer, Nicholas Wilder: “My ambition in life is to be a bedroom painter.”

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Judy Ledgerwood Installation Inaugurates Chicago's Newly Refurbished Blue Line Racine Station →

Judy Ledgerwood
October 10, 2025 | CTA Blue Line Racine Station, Chicago

Judy Ledgerwood’s new permanent, site-specific installation is open now at the CTA’s newly renovated Blue Line Racine Station. The Racine stop renovation is part of the Chicago Transit Authority (CTA)’s multi-year project to make the Blue Line Forest Park Branch fully accessible. Composed of 704 unique, hand-made ceramic tiles, Ledgerwood’s new public artwork, titled Flowers for the Blue Line Racine Station, spans 40 feet of wall space from floor to ceiling, wrapping around the station’s north and west walls to greet commuters as they enter.
 
Conceived over two years ago, the project was realized in collaboration with Ingrid Harding, Chief of Production at the Nymphenburg Porcelain Manufactory in Munich, Germany—a producer of fine porcelain and terracotta majolica since 1747. Each tile was hand-formed in red terracotta and finished with low-relief textures and vibrant polychrome majolica glazes. Ledgerwood designed sixteen distinct tile forms and spent months refining the clay body and glazes, treating each tile as an individual painting.

Judy Ledgerwood joins previous artists commissioned to create artworks for stations, including Theaster Gates (Red Line station at 95th Street in 2018) and Nick Cave (Green Line Garfield station in 2018). “Nothing gives me greater joy than to have the opportunity to tap the talents of a local artist to enrich the transit riding experience and add yet more art to one of our rail stations,” said CTA President Dorval R. Carter, Jr. “With each new piece of public art added to one of our facilities, we are not only beautifying the space but we’re also celebrating and contributing to the surrounding the community.”

Fiona Banner in Frith Street Gallery le Molière Pop-Up in Paris →

Fiona Banner AKA The Vanity Press
October 10 - 26, 2025 | Frith Street Gallery le Molière, Paris

To coincide with the art fair weeks in London and the French capital, Frith Street Gallery is presenting a special pop-up exhibition featuring Fiona Banner alongside other artists from the gallery’s roster at 40 rue de Richelieu in the 1st arrondissement, the site of the last residence of the great 17th century writer Molière.

Frith Street Gallery le Molière is located by Jardins du Palais Royal and a short walk from major cultural landmarks such as the Louvre, the Bourse de Commerce, Collection Pinault and the new Fondation Cartier pour l'Art Contemporain.

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FullCircle Presents Diana Thater: ArtCenter’s 2024 Lifetime Achievement Award Winner (A special conversation with the artist) →

Diana Thater
Saturday, October 4, 2–3 p.m. | ArtCenter, Pasadena

Portrait of Diana Thater with Sudan, the last male northern white rhino, 2016 (Kenya). Photo by T. Kelly Mason.

Diana Thater (MFA ‘90 Fine Arts/Painting) has been at the forefront of her medium since her graduation from ArtCenter in 1990. Her work in film, video and installation has been internationally recognized. In her 35-year career, she has been the subject of 92 solo exhibitions and has participated in over 200 group exhibitions. She has produced eight monographs and has received numerous fellowships, grants and awards including her most recent award - The Trellis Art Prize - announced in July of this year. Thater has just returned from a shoot at Claude Monet’s garden in Giverny. The film and video shot on location will become a large-scale permanent outdoor installation commissioned for the new LACMA campus. Tonight she will preview this new project, as well as some of her recent work, and will discuss her wide range of interests and inspirations. Her presentation will be followed by a Q&A.

*A private reception will precede the presentation from 1–2 p.m. in the Faculty Dining Room, Hillside Campus (ArtCenter FullCircle Members Only)

ArtCenter College of Design, Hillside Campus, 1700 Lida Street, Pasadena, CA 91103

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What Was the Pictures Generation? →

Jack Goldstein | ArtNews

Jack Goldstein, Untitled, 1981

by Howard Halle

In the United States, the 1970s were known as the malaise decade, nowhere more so than in New York City, where the white middle class had fled the Five Boroughs along with manufacturing and shipping, leaving a tax base that slipped into a death spiral even as the cost of services and social programs increased. But of all the years during that benighted era, 1977 marked a nadir in the city’s fortunes: On the night of July 13–14, a blackout plunged New York into darkness, precipitating a widespread outbreak of looting and vandalism; the following month, David Berkowitz, aka the Son of Sam, was arrested for a 12-month killing spree that left eight people dead; and during coverage of the World Series that October, a helicopter camera brought us the spectacle of a block being consumed by fire next to Yankee Stadium in the Bronx, where landlords had been burning down abandoned buildings to collect insurance money.

Unnoticed amidst this civic unraveling was a group exhibition titled “Pictures,” which opened in September of 1977 at Artists Space, one of several nonprofit galleries that had sprung up to cultivate emerging talent. Featuring just five artists (Troy Brauntuch, Jack Goldstein, Sherrie Levine, Robert Longo, and Philip Smith) working variously in painting, sculpture, drawing, photography, and film, the exhibit focused on how mass media and popular culture had transformed the general understanding of imagery through its transmission by photographs, movies, and television. While “Pictures” attracted the attention of only a slice of an art world that was small and localized compared with now, the show, and a generation of artists attached to its name, proved to be an inflection point for art through the rest of the century and into our own.

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Ana Prvacki in Gabriele Münter Prize Exhibition →

Ana Prvacki
September 27 - November 16, 2025 | Museum Gunzenhauser, Chemnitz

Ana Prvacki, Bunny Ears, 2022

The Gabriele Münter Prize is the only art prize in Europe that is awarded exclusively to female visual artists over the age of forty. The prize, endowed with 20,000 euros, was created because female artists in this age group are significantly underrepresented in important awards. The Gabriele Münter Prize offers an effective opportunity at national level to highlight, promote and honour the outstanding achievements of contemporary female visual artists living in Germany. The prize is named after the painter Gabriele Münter (1877-1962) – one of the most important female artists of modernism. Her example is still an encouragement for female artists today.

The 2025 Gabriele Münter Prize was awarded to Iranian-German artist Parastou Forouhar. An accompanying exhibition at the Museum Gunzenhauser in Chemnitz displayed Forouhar’s works, together with the works of the five other finalists Esra Ersen, Else Gabriel, Ana Prvački, Annegret Soltau and Hoda Tawakol.

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Petra Cortright: NOBLEcurve →

Petra Cortright
September 27 - November 1, 2025 | Interval, London

‍Cortright’s rich and beautifully formed artworks from her solo show at Interval, London, the inaugural exhibition at the space, were created in response to a series consigned works for the show from Interval’s old master gallery collaborators Rafael Valls and Sam Fogg, featuring 17th and 18th century Dutch and Spanish floral still life paintings by Gaspar Pieter Verbruggen II, Jan Van Os, José de Arrelano, alongside the 15th century manuscript pages: A kneeling patron before the Virgin and Child, from the Elmhirst-Courtanvaux Hours, The Annunciation to the Virgin from a Book of Hours and a leaf by The Master of the Budapest Antiphoner.

“In considering who to launch Interval with, and working in line with our mission to connect contemporary artists with historic artworks in the project space, Petra Cortright was a perfect choice. We had both relished collaborating with Petra on her beautiful digital art commissions for Daata and The Bass Museum back in 2018 — with my curation, and Jacob creating the sound for her videos. Interestingly, those video artworks also sourced historic floral paintings. Our next goal was to find the most fitting historic artworks to present alongside Petra’s work, and happily, Rafael Valls and Sam Fogg were delighted to work with us! And here we are now…” – David Gryn

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Pae White in 'Natural Mystics' →

Pae White
September 27, 2025 - January 31, 2026 | The Warehouse, Dallas

Art is never reasonable. It is not logical and has no utilitarian value. In a world obsessed with efficiency, the role of the artist is to introduce friction. The artists in Natural Mystics employ magical and otherworldly thinking that gum-up the works and create this productive friction. Drawing from both the Rachofsky and the Hartland & Mackie / Labora Collections, the exhibition gathers works made in the shadow of the wreckage of empirical reason, at a time when the systems we were taught to trust have proven to be unreliable narrators of the present moment. The artists in the exhibition do not offer solutions, nor do they turn away from the present moment’s poverty and exhaustion. Instead, they turn upward and inward. Across a variety of media—from paintings to aquariums—they work from places beneath language and beyond the reach of consensus. In an age intoxicated by data and driven to rationalize every impulse, these artists choose instead to listen…to dreams, to omens, to the quiet murmur beneath the noise. Theirs is a different kind of rigor: one that resists legibility, that honors opacity, that draws from what cannot be charted. This is a queer knowledge-making. It does not justify itself. It offers ephemera as evidence.

As Natural Mystics unfolds, the artists reckon with the world on different terms: intuitive, embodied, non-linear, organic. They operate as seers, not because they foretell the future, but because they feel and share what has been buried and what is becoming—climate collapse, algorithmic control, new understandings of the body, the disenchantment of life. These artists draw power from ancestral memory, the natural world, and ecstatic vision. What they offer is not escape, but spell work: gestures that resist commodification and truths that cannot be graphed. Here, art is not a mirror held to the world, but a portal—something to pass through and be changed by.

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