Uta Barth in Blur / Obscure / Distort: Photography and Perception at the Norton Museum of Art, Palm Beach →

Uta Barth
April 5 - August 24, 2025 | Norton Museum of Art, Palm Beach

Installation view of Blur / Obscure / Distort: Photography and Perception (April 5 – August 24, 2025) at the Norton Museum of Art, West Palm Beach, Florida. Courtesy of the Norton Museum of Art. Photo: Ashley Kerr.

Blur / Obscure / Distort: Photography and Perception brings together photographs that are linked by the common objective of disrupting the viewer’s sense of time, space, place, or scale. Sometimes considered errors, photographic blur, distortion, and obfuscation have also been important creative and aesthetic strategies adopted by artists since the medium’s 19th-century inception. Highlighting photographs from the Norton’s Collection and a selection of special loans, this exhibition points to the constructed nature of perception and, in turn, photography’s vulnerability to manipulation even when it appears to show what is “real.”

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Uta Barth in Anonymous Was A Woman: The First 25 Years at the Grey Art Museum →

Uta Barth
April 4 - July 19, 2025 | Grey Art Museum, New York University

Installation view of Anonymous Was A Woman: The First 25 Years. Courtesy Grey Art Museum, New York University. Photo: Simon Cherry

This exhibition celebrates Anonymous Was A Woman (AWAW), a grant program for mid-career women artists living and working in the United States. Featuring works by 41 of the 251 artists who received the award in its first quarter century, it provides a timely opportunity to look back at a crucial period of art production by women, and to reflect on the program’s enormous impact.

Since its inception, AWAW has helped reshape the landscape of arts funding, filling a vacuum left after the National Endowment for the Arts terminated its grants to individual artists in 1994. Every year between 1996 and 2020, AWAW awarded unrestricted gifts of $25,000 to ten women artists over the age of 40; in recent years, both the amount of the award and the number of awardees have increased. Initiated and still led by photographer and philanthropist Susan Unterberg, who herself remained anonymous until 2018, the groundbreaking program refers to a phrase in Virginia Woolf’s essay “A Room of One’s Own,” which drew attention to challenges faced by women writers and artists in a patriarchal society. True to its name, AWAW solicits recommendations from over 200 unnamed nominators and selects awardees via anonymous panels. Over the years, the grant, which provides both financial support and professional recognition, has been truly transformational for a number of the recipients.

The artworks on view span an array of media, subject matter, and formal approaches. Equally wide-ranging are the generational, regional, ethnic, and racial backgrounds of the artists represented. Guest curators Nancy Princenthal and Vesela Sretenović sought works created as closely as possible to the year the artists received the award. Rather than choosing a thematic focus, the curators aimed to trace the development of contemporary art practice over the last twenty-five years, addressing issues of identity and community; the position of women artists in society; the shifting value of craft; the expanding possibilities for installation and time-based media; as well as the many uses of anonymity. The opportunities for future interpretations of AWAW’s importance remain, like art itself, infinite.

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Fiona Banner aka The Vanity Press: Nude Wing at Mudam Grand Hall, Luxembourg →

Fiona Banner aka The Vanity Press
April 4 - August 4, 2025 | Mudam Grand Hall, Luxembourg

Fiona Banner, ‘Nude Wing’, 2011. Collection Mudam Luxembourg. Donation 2023 – Gaby and Wilhelm Schürmann avec le soutien des membres du Cercle des collectionneurs du Mudam Luxembourg. © Photo : Wilhelm Schürmann, Herzogenrath

Nude Wing (2011) is a monumental sculpture by Fiona Banner aka the Vanity Press (1966, Merseyside, UK) featuring a Tornado aircraft wing positioned vertically. As part of a series in which Banner repurposes combat aircraft, the work transforms military units into complex and striking sculptural forms that question a common understanding of aesthetics. Reaching six meters, Nude Wing’s sheer scale and polished surface heighten its totemic presence as it reflects both the viewer and their surroundings.

Engraved into Nude Wing’s polished surface, fragments of text describe a female nude posing in the artist’s studio. It draws parallels between the form of the wing and the human body whilst emulating ‘nose art’ – where cartoonish, often sexualised women are painted onto aircraft fuselages –, a form of folk art, an ongoing practice within the military that emerged during World War I.

Banner's conceptual and multidisciplinary work explores the porous boundary between image and text. For over thirty years, the fetishization of combat, from Hollywood to jingoistic military displays, has been central to her research. The artist draws on childhood memories of Royal Air Force airshows or walks in the Welsh mountains, where the pastoral silence would be shattered by the roar of aircraft. In her work, Banner questions visual cultures tendency to mythologise and aestheticize conflict. She challenges us to decondition our gaze and reconsider these ambivalent objects and the contradictory feelings they evoke, somewhere between fascination and repulsion.

‘That we find [these planes] beautiful brings into question the very notion of beauty, but also our own intellectual and moral position’, says the artist. ‘I am interested in that clash between what we feel and what we think.’

Nude Wing, which became part of the Mudam collection thanks to Gaby and Wilhelm Schürmann, with the support of the members of the Cercle des collectionneurs du Mudam Luxembourg, is presented in dialogue with New Collection Display.

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Angela Bulloch in Raging Planet curated by Connor Hirst at Newport Street Gallery, London →

Angela Bulloch
March 28 – August 31, 2025 | Newport Street Gallery, London

Angela Bulloch, Chain B 3:1:52:4, 2002. Three DMX modules, one black box, waxed birchwood, printed aluminium panel, white glass, diffusion foil, assorted black cables, RGB lighting system, DMX controller; Each: 20.1 x 20.1 x 20.1 in (510 x 510 x 510 mm). Photographed by Prudence Cuming Associates Ltd. © Angela Bulloch.

Curated by Connor Hirst, Raging Planet features works by Angela Bulloch, Roger Hiorns, Oliver Marsden, Hwang Samyong, Bosco Sodi, and Keith Tyson. Spanning three galleries, the show explores different ways artists engage with the natural world through paintings, sculptures, and installations.

Raging Planet highlights the use of texture and materiality across various works. Roger Hiorns showcases sculptures and paintings encrusted with copper sulphate crystals. His work often uses unconventional materials like industrial objects and organic substances. Bosco Sodi’s large-scale paintings incorporate sawdust, pigment, and other natural materials, creating surfaces that resemble weathered landscapes. Keith Tyson’s works, in which paint and chemicals react on acid-primed aluminium panels, highlight the unpredictable forces of nature. Angela Bulloch’s multimedia works, including her ‘pixel boxes’ and interactive sound installations, investigate the relationship between science, technology, and nature.

The exhibition has been arranged in association with HENI, and is accompanied by a fully illustrated catalogue.

Raging Planet is presented alongside The Power and the Glory, an exhibition that pairs historical archive photography from the atomic age with a collection of rare scholars’ rocks.

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Pae White in Énormément bizarre at Centre Pompidou, Paris →

Pae White
March 26 - June 30, 2025 | Centre Pompidou, Paris

Jean Chatelus, who passed away in 2021 at the age of 82, was a Lyon-born historian and lecturer at the Sorbonne. Throughout his life, he amassed a unique collection, driven more by an impulse to accumulate than by a traditional collector’s approach. Comprising nearly 400 pieces—sculptures, installations, paintings, photographs, drawings, votive and vernacular objects—the collection explores themes of the body, death, and the fleeting nature of life.

Énormément Bizarre: The Jean Chatelus Collection, donated by the Antoine de Galbert Foundation reflects Chatelus’s evolving tastes: from an early fascination with Surrealism and repurposed objects, to a later focus on body art. It also reveals his keen interest in non-Western ethnographic artifacts, folk traditions, and the works of contemporary art’s outsiders and enfant terribles, including Pae White, Cindy Sherman, Mike Kelley, Christian Boltanski, Yayoi Kusama, Michel Journiac, Daniel Spoerri, Robert Filliou, Nam June Paik, Joana Vasconcelos, Andres Serrano, and Wim Delvoye.

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Fiona Banner AKA The Vanity Press →

Fiona Banner AKA The Vanity Press | Burlington Contemporary

Fiona Banner AKA The Vanity Press in 2024. (© Fiona Banner Studio; courtesy the artist and Frith Street Gallery, London; photograph Leroy Boeteng).

interviewed by Millie Walton

Although the links drawn between different types of assault and exploitation – on the body, on the landscape, on language itself – are often unsettling and confronting, there is always a sense of play to what Banner makes, a sending-up or collapsing of ‘grand’ ideas but also of her work. For her Tate commission in 2010, for example, she bought and installed two full-size fighter jets – a Sea Harrier aircraft and a SEPECAT Jaguar aircraft – into the Duveen galleries, creating an environment that was alternately monumental and sad. She later melted the planes down into ingots, which she keeps in her east London studio. Ahead of Banner’s solo exhibition at Frith Street Gallery, London (21st March–3rd May 2025), Millie Walton spoke to the artist about language, time, motherhood and military aircraft.

Read more here.

Artist Rirkrit Tiravanija: "As an artist, I can only make signs."

Rirkrit Tiravanija | Louisiana Channel

“Paying attention now is actually a kind of political act."

Renowned Thai artist Rirkrit Tiravanija reflects on the role of art in a time of crisis, the importance of questioning authority, and the need for critical engagement with the world around us in repressive times.

For Tiravanija, art serves as a space of doubt and freedom: "Art is always a place where we can have doubt, we're free to think, and we're free to question authority—any kind of authority." He urges viewers to challenge established institutions, including their own assumptions.

“I think now when we're in a place and time where you know there's so much trying to ask for attention, but the attention they're asking for is a kind of is a diversion from reality in a way is a diversion from facts is a diversion from truth,” Tiravanija says.

Tiravanija talks shares his view of the world at the occasion of his most recent work ‘A Million Rabbit Holes (2024), reflecting the events leading up to the US selection in November 2024.

Throughout the discussion, Rirkrit Tiravanija draws on personal observations and global political concerns, highlighting the dangers of uncritical acceptance: "We're coming to a place where the dreams are going to be shattered, there is no more dream."

Tiravanija also reflects on the commodification of art, arguing for a return to its radical roots: "Art has to stop becoming commodified and art has to go out and back into the woods as it was. Or maybe Duchamp, like has said, you know, it's time to go underground."

Despite the challenges ahead, the artist remains hopeful that crisis can be a catalyst for change: "I think we're coming to a big crisis and I I think, and I hope, that crisis is extreme enough to wake people up, to come together, to do things together in opposition to those things that are being set on us."

Jorge Pardo in 'Diary of Flowers: Artists and their Worlds' at MoCA →

Jonny Niesche
March 9 - September 20, 2025 | Museum of Contemporary Art, Los Angeles

iary of Flowers: Artists and their Worlds brings together over 80 artworks from MOCA’s renowned collection, demonstrating how artists create their own worlds through their art–building networks, circles, and mythologies. Embracing the boundaries between the personal and the social, public and private lives, as well as emotional and psychological states, works in the show privilege sites of creativity and the place of the imagination to conjure new worlds and possibilities. Friendship, love, and intimacy become important starting points for artistic expression. The exhibition features work in all media across different geographies, cultures, and periods, by artists including Belkis Ayón, Abraham Cruzvillegas, Mona Hatoum, Candice Lin, Annette Messeger, Wangechi Mutu, Jorge Pardo, Lucas Samaras, Mohammed Sami, Tunga, and Haegue Yang, as well as a gallery dedicated to Nan Goldin.

Diary of Flowers: Artists and their Worlds is organized by Clara Kim, Chief Curator & Director of Curatorial Affairs, with Paula Kroll, Curatorial Assistant, and Ariana Rizo, Curatorial Assistant.

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Rirkrit Tiravanija: A MILLION RABBIT HOLES at Gammel Strand, Copenhagen →

Rirkrit Tiravanija
March 6 - August 31, 2025 | Gammel Strand, Copenhagen

A MILLION RABBIT HOLES is a total installation by Rirkrit Tiravanija reflecting the feverish atmosphere leading up to the U.S. election and the polarization the country is undergoing.

Rirkrit Tiravanija is one of the most influential contemporary artists and a pioneer in participatory contemporary art. His works highlight the connections that unite us across differences — an ever more relevant theme in a time marked by disinformation, alternative truths, and echo chambers.

In this piece, you step into a total installation, drawn from a forestry setting in Upstate New York, subtly addressing the intense polarization the U.S. is currently experiencing.

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Inside An Intimate Dinner In Support Of The LA Arts Community Fire Relief Fund →

Jorge Pardo | Elle Decor

Photo by Katie Jones

By Sean Santiago

Last weekend, ELLE Decor hosted an intimate dinner at Ardor at The West Hollywood EDITION in support of the LA Arts Community Fire Relief Fund. The event was supported by Visit West Hollywood and Monacelli, off the back of Primack and Weissenberg’s Love How You Live: Adventures in Interior Design multi-city book tour. Each guest took home a copy of the book along with their own one-of-a-kind plate, hand-painted by artist Jorge Pardo. Sales of the plates, currently available by special order through the AGO Projects site, will raise money for the relief fund.

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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.

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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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At Guadalajara Art Weekend, Open Studios Are the Biggest Draw →

Jorge Mendez Blake, Jorge Pardo and Pae White | Observer

Ceramica Suro’s annual Comida celebration during ART WKND GDL. Photo by Tuna Unalan.

By Elisa Carollo

The highlight of the evening at Plataforma was a conversation between Cuban artist Jorge Pardo and American artist Pae White, both of whom have long-standing ties with José Noé Suro. Pardo’s immersive, labyrinthine installation of luminous ceramic walls and colorful lamps seamlessly intertwined with White’s newest series of sculptures, forming an engaging, multisensory environment that explored how visual curiosity and emotional impulses shape perception.

The final stop was the studio of conceptual artist Jorge Méndez Blake, whose multimedia practice explores the intersection of literature, art and architecture—disciplines humans use to define their existential and operational space, imposing structure and direction upon it. Deconstructed pages of famous books transform into constellations of meaning, as Méndez Blake distills single characters, isolating them in a careful, rational order. Across his sprawling studio, various workstations held a series of hyperrealistic paintings, which, through trompe-l’œil techniques, similarly yet more directly challenge the viewer’s perception of reality. These paintings also serve as tools for conceptualizing and developing his other projects, reinforcing the artist’s fascination with language, illusion and the ways in which knowledge is both constructed and dismantled.

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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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Jessica Stockholder: Cardinal Directions at Es Baluard Museu d’Art Contemporani de Palma →

Jessica Stockholder
January 31 - August 24, 2025 | Es Baluard Museu d’Art Contemporani de Palma, Spain

Curated by David Barro and Soad Houman, Cardinal Directions features works loaned from Barrié Foundation’s International Contemporary Painting Collection along with a site-specific work created for Es Baluard Museu. The work of Jessica Stockholder (born in Seattle, United States, 1959 and raised in Vancouver, B.C. Canada) reveals the complex relationship between the illusionistic space of painting and the physical presence of sculpture. Intrigued by the ways things are bounded and how we understand them, she explores this question in relationship to many materials and their intersection with pictorial possibilities. This interstitial state also grounds her work in the overlap between installation and architecture, since it is always linked to the site. Ultimately, her work is about the experience of looking, a kind of abstraction, use of color or artistic experience projected as a way of communicating the world, driven by the artist's conviction that any image of something involves abstraction if we think of it as relating the experience of that thing. 

Her practice is paradigmatic of what is termed expanded painting, a form of painting that can transform context into content by conquering architectural space and prompting a shift from the traditional two dimensions of the canvas to the three dimensions of real space, as well as including the time spectators take to wander through the space without ever finding a definitive viewpoint. This is definitely painting, and in her works we can talk about figure and ground, chiaroscuro, color, composition, space, rhythm . . . Everything hints at aspects or concepts of pictorial tradition, even though the materials might be socks, duct tape, a surfboard, a strip of shower curtain, umbrella fabric, a Ghanaian mask, a typewriter, weights or a carpet she has designed following her own color scheme. It is painting as a reality that can be penetrated, inhabited. Yet it is also painting that lets us continue to talk about painting, even though in many cases the surface to be painted is architectural space. The use of color dematerialises things and gives painting its pictorial quality, as reflected in this selection of works ranging from 2006 to the present. We notice this in her more intimate pieces, assemblages of usually found and reused objects whose material qualities have been erased by the impact of color. Artificial light, as a pictorial strategy, also plays into this intention, into this effect of color. Above and beyond painting, this approach prioritizes the pictorial essence of each object and, by extension, the pictorial potential of architectural space, which supports painting as a wall supports a canvas.

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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.”

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Here are the 10 Must-See Gallery Shows in LA This Month →

Jorge Pardo | Cultured Mag

Jorge Pardo, Untitled, 2024. Image courtesy of the artist and 1301PE.

By Giuliana Brida

Jorge Pardo

Where: 1301PE
When: Through January 11, 2025
Why It’s Worth A Look: Layering 30 years of 1301PE’s exhibition posters into a kaleidoscopic collage of color and form, Jorge Pardo’s monumental canvas blurs the line between a painting and its environment. The result is a dizzying play of abstraction and representation, a work that refuses to be pinned down and demands you step closer to decode its mysteries.
Know Before You Go: Depending on where you stand, colors collide or dissolve, textures sharpen or soften, and the image shifts like a mirage. Pardo wants you lost in the middle of it all—caught between recognition and abstraction, where every angle reveals something new. 

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Most influential people in 2024 in the contemporary artworld →

Rirkrit Tiravanija | ArtReview

Photo: Daniel Dorsa. Courtesy Rirkrit Tiravanija and David Zwirner

‘My interest is always to break down the distance between what we think [of] as art or high art and what we do in our daily life,’ Tiravanija once told The Korea Herald. During his close-to-40-year engagement with what has been characterised as relational aesthetics, the Thai artist has become known for his participatory events, from cooking pad thai for gallery goers to providing them with ping-pong tables. You’d think it might be tricky to encapsulate such a career in a retrospective, but his MoMA PS1 survey, which closed in March, before moving to LUMA Arles in June, had a go, as did a second retrospective at Gropius Bau, Berlin, which opened in September, serving curry and Turkish coffees, and providing hangout spaces where the interactions are the work.

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Step Inside a Bewitching Ranch House in Malibu →

Jorge Pardo | Architectural Digest

Photography by Mark Seelen

By Mayer Rus

Despite the eye-rolling hauteur of the word Gesamtkunstwerk, or total work of art, it is the mot juste to describe what Pardo has wrought: a dizzying, kaleidoscopic fantasy interior in which the floors, walls, ceilings, and furnishings filigree into a single orgasmic organism, brought to life through the artist’s signature experiments with form, pattern, and color. There’s a primary bedroom suite at one end of the structure, two guest rooms at the other, a kitchen/dining zone, and a sunken living room, the latter two mediated by a floor-to-ceiling storage volume clad in quotidian prefab wood shingles that strike a dramatic contrast note amid all the calligraphic finery. “It’s really a simple building, but when you step inside it’s optically extreme,” Pardo says, describing the symphony of engraved, punctured, and otherwise manipulated walls, windows, doors, and furnishings, all fabricated using CNC computer-driven machining processes.

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