Angela Bulloch, Jack Goldstein, & Rirkrit Tiravanija in Drawing, Painting, Sculpture, Photography, Film, Video, Sound / The Ringier Collection 1995 – 2025, curated by Beatrix Ruf & Wade Guyton →

Rirkrit Tiravanija
April 13 – October 5, 2025 | The Langen Foundation, Neuss

In Drawing, Painting, Sculpture, Photography, Film, Video, Sound the Langen Foundation in Neuss presents an extensive selection of works from the Swiss Ringier Collection, marking its first major exhibition in Germany. Curated by Beatrix Ruf and artist Wade Guyton, the exhibition features approximately 500 works, offering an overview of one of the most relevant collections of contemporary art. Spanning works from the late 1960s to the present day, it documents Michael Ringier’s 30 years as a collector and key developments in the art world.

Together, these pieces form a rich and layered portrait of Michael Ringier, a Swiss publisher and media entrepreneur, whose collection of art is deeply intertwined with his personal and professional life, as well as the identity of Ringier, a media company active in 19 countries across Europe and Africa. Since 1997, the company has invited international artists to design its annual reports, granting them complete creative freedom. These collaborations have resulted in creative and intelligent explorations of the role of a media publisher today and its engagement with audiences. Renowned artists including Fischli/Weiss, Maurizio Cattelan, and Sylvie Fleury have contributed to these reports, as has Wade Guyton, whose report featured a one-to-one reproduction of one of his paintings printed in high-resolution detail across hundreds of pages. When compiled, these pages recreate the work in its original dimensions.

The exhibition's subversive title highlights how traditional artistic media continues to inspire new interpretations—both by challenging their conventional boundaries and through intentional artistic ambiguity. Drawing, Painting, Sculpture, Photography, Film, Video, Sound re-examines the expectations surrounding what defines a medium and how it shapes our perception. The connection to a global media company like Ringier is evident: from its beginnings in publishing and printing to its evolution into a digitized and diversified corporation, the company has been shaping the relationship between content and medium for over 190 years. Wade Guyton, too, challenges the concept of the medium of painting—whether through his large-format printed works or the strategic use of digital technologies, he questions what a medium can be and how it shapes the art it conveys.

Through these explorations, the exhibition invites viewers to see the collection not merely as a compilation of works but as a dynamic narrative that constantly opens up new perspectives. This approach reflects Michael Ringier’s view of art as a living, integral part of both his entrepreneurial and cultural engagement.

More Info

Review: Jorge Pardo at 1301PE →

Jorge Pardo | ArtForum

by Jan Tumlir

“Art is what it has become,” Theodor Adorno unequivocally declares in Aesthetic Theory (1970). His statement implies that the original meaning of a work can be completely overturned by its contemporary circumstances. A similar point can be made about gallery practice: Operational protocols, once seemingly set in stone, can undergo ground-up rethinking with every slight shift in our systems of informational and economic distribution. Jorge Pardo’s latest outing at 1301PE addressed this process from an ironic distance. But some measure of warmth could also be felt here, directed from the artist to the gallery’s founder, Brian Butler, with whom he has worked closely since the earliest days of his career. 

This show consisted of just one painting, Untitled, 2024, the scale and proportions of which closely matched those of the wall on which it hung, one that faced the entrance to a reconfigured downstairs gallery. Normally, this space opens onto a corridor that connects to the reception desk and office, and, farther on, to a stairway leading up to a second showroom. On this occasion, however, the passage had been sealed. In a period when commercial galleries are increasingly prone to hedging their bets with “mixed nuts,” something-for-everyone assortments of art, this was a rather striking proposition. Even more so was the fact that this work could be read as a kind of tribute to its site. At a distance, the painting appeared resolutely abstract, nonreferential, this impression reinforced by its title (or lack thereof). Observed more closely, it was revealed to be suffused with information. Its surface teems with material gleaned from every poster Butler had produced to accompany the gallery’s exhibitions up to then. Snippets of typography and fragments of imagery are scattered throughout, as if drawn through a shredder and then spread, mulch-like, across the picture plane. As with much of the artist’s work, Pardo layered, condensed, and recomposited the source data with the aid of computer programs run with minimal interference. Nevertheless, the result bore a strikingly organic aspect. From its earthy, autumnal tones to the quasi-gestural application of each daub of color, the painting greeted the eye as a kind of Arcadian landscape akin to those by Édouard Vuillard.

Read more here.

Charline von Heyl in Remix: From Gerhard Richter to Katharina Grosse at The Albertina Museum →

Charline von Heyl
June 29, 2025 - January 4, 2026 | The Albertina Museum, Vienna

Charline von Heyl, Bait Ball, 2017

The Viehof Collection is one of the most important private collections in Germany, whose focus is undoubtedly on the art of its own country, with a special focus on those artists who shaped the Rhineland and its art centers of Cologne and Düsseldorf as a nucleus of the avant-garde of international importance. 24 artist positions were selected for the major spring exhibition in order to present the development of German painting and sculpture after 1960.

The show presents an overview of the depth of this collection: from Joseph Beuys, Gerhard Richter and Sigmar Polke, who stand for the “cheeky”, socially critical art of the 1960s, to that of the 1980s, which was shaped by Martin Kippenberger, Albert Oehlen and Katharina Sieverding, to the field of figurative and abstract art of the 21st century, which is represented by works by Neo Rauch, Daniel Richter, Isa Genzken and Katharina Grosse.

More Info

You Stretched Diagonally Across It: Contemporary Tapestry curated by Su Wu at Dallas Contemporary →

Jorge Méndez Blake
April 11 – October 12, 2025 | Dallas Contemporary

You Stretched Diagonally Across It: Contemporary Tapestry is at once a celebration of the genre and a categorical collapse, offering extended engagement with tapestry while magnifying how its contemporary practitioners are challenging the material, ideological, and narrative conventions of the age-old medium. Across works by thirty artists, the exhibition suggests tapestry as an active inflection point for unresolved inquiries into the human condition, including notions of authenticity, durational effort in the face of technological efficiency, and depictions of vastness and omniscience in physical form. The tapestries here move beyond the rigid ethnographic categorizations that have often guided the presentation of textile in institutional settings, instead reflecting circulations of people, materials, plants, and trade colors, both native and not, and identities that are temporary and contentious, or even unverifiable.

Taking its title from a letter written by Kafka, in which he imagines his father’s presence woven across a map of the world, “You Stretched Diagonally Across It” depends, like the pieces that compel it, on exceeding fixed latitudes and boundaries – between art and craft, perception and tactility, and tradition and improvisation – even to the point of unraveling. A tapestry, as posited by guest curator Su Wu, is an object in which the image and its substrate are co-arising, in a medium that often makes of gesture a devotion. In our screen-mediated contemporary moment, the exhibition offers tapestry as uniquely situated to reconsider material and temporal significance – whether it matters what our myths are made of – and the relationship between surfaces and the structures that comprise them.

More Info

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.”

More Info

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.

More Info

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.

More Info

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.

More Info

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.

More Info

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.

More Info

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.

More Info

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.

Read more here.

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.

Diana Thater in Atmospheric River at Gattopardo →

Diana Thater
February 16 - March 15, 2025 | Gattopardo, Glendale

Diana Thater, Peony (2020); Installation: 4 flat monitors, media player; Edition of 1 + 1AP (video still)

Atmospheric River is a group exhibition benefiting LA fire relief efforts featuring works by Ren Ebel, Juliana Halpert, Gordon Matta-Clark, T. Kelly Mason, Olivia Mole, Jasminne Morataya, Josh Schaedel, Diana Thater, Jennifer West and Jason Yates.

Atmospheric River foregrounds a small history of intergenre artists working with the prescient efflorescence of their time. In Open House, an industrial container becomes a vessel for expansive collaboration. Likewise, the city of Los Angeles functions as an improbable container, subject and asylum for its artists. The exhibited artworks traffic in this diligent fluidity, landscapes of psychic topographies and medium agnosticism.

More Info

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.

More Info

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.

More Info

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.

Read more here.

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.

More Info