Petra Cortright in Looking at Horizons at Almine Rech, Monaco →

Petra Cortright
June 5 — September 19, 2025 | Almine Rech, Monaco

Looking at Horizons at Almine Rech Monaco explores contemporary manifestations of landscape painting, featuring works by Joël Andrianomearisoa, Miquel Barceló, Alejandro Cardenas, Petra Cortright, Johan Creten, Genieve Figgis, Daniel Gibson, Youngju Joung, Scott Kahn, Minjung Kim, John McAllister, Anthony Miler, César Piette, Salvo, Gert & Uwe Tobias, and Jess Valice. Through the diversity of their inspiration and research, they celebrate landscape as a complex pictorial genre that questions the material aspects of a territory as much as the way we look at it. 

At a time of great climatic challenges, these artists invite us to observe living things and spaces with curiosity, delicacy, and care, for landscape painting is both a window on nature, and a mirror reflecting our relationship with it. Investigating landscape today is giving a form to our collective concerns, questioning our perception of nature, and the condition of painting itself. 

More Info

Screening and Talk: Ana Prvački's 'Flowering under stress' at àngels barcelona →

Ana Prvački'
June 2 | àngels barcelona, Spain

Ana Prvački’s videos combine humor, poetry, and sharp observation to question everyday rituals, social codes, and our relationship with the environment. Through small performative actions and a carefully crafted visual language, the artist introduces subtle twists that invite us to rethink the familiar from a playful and critical perspective. Her works, positioned between the conceptual and the sensorial, offer unconventional/ offbeat yet incisive reflections on the norms that shape daily life. This screening of Flowering under stress is presented in collaboration with The Voice of the Art as a part of àngels films’s spring screening series.

Find more information on the screening here.

Jorge Méndez Blake in BE-LONGING: An Exhibition of the Mercedes-Benz Art Collection in Mexico City →

Jorge Méndez Blake
May 30 – August 31, 2025 | Espacio CDMX, Mexico City

Jorge Méndez Blake, Poema en estructura circular (Stevens), bricks, ink, paper, 2025 and Buhlebezwe Siwani, Mnguni, inkjet print, 2019, Mercedes-Benz Art Collection © Courtesy the artists and for Jorge Méndez Blake: OMR, photo: Ramiro Chaves.

Curated by Polina Stroganova for the Mercedes-Benz Art Collection, BE-LONGING brings together selected works from the Mercedes-Benz Art Collection and contemporary artists living and working in Mexico. The exhibition explores the theme of identity, a subject deeply embedded in contemporary artistic discourse and continuously negotiated within society at large. The works by 32 international artists illustrate not only the relevance and complexity of the chosen topic, but also its potential to promote individual and collective resilience.

The exhibited works deal with identity-forming aspects such as bodies, origins, memories, geographies and vocations. These thematic strands allow for multiple interpretations and perspectives on identity emphasizing the concepts of fluidity, dialogue, and the interplay between different points of view. Visitors are invited to contribute their own experiences and associations to this dialogue, making a space for exchange, reflection and critical engagement with the evolving nature of identity in contemporary society. The exhibition’s scenography is designed by the esteemed Mexico City-based architectural studio C Cúbica, which has developed a modular display tailored to the concept of the exhibition. This design reinforces the exhibition’s emphasis on interconnectedness and multiplicity.

The show marks the launch of a series of dialogue-driven, international exhibitions of the Mercedes-Benz Art Collection designed to engage with local artistic practices. Through a dynamic and modular approach, this initiative aims to reach a broad international audience while fostering collaborations between Mercedes-Benz employees, different communities as well as diverse artistic networks in key international locations—Mexico City being the first.

More Info

Simryn Gill and Tom Melick's Stolon Press in 'Flat earth' at Monash University Museum of Art →

Simryn Gill
May 29 – July 12 2025 | Monash University Museum of Art

Stolon Press, Mixed business, 2025. Installation View, Stolon Press: Flat earth, Monash University Museum of Art | MUMA, Naarm/Melbourne, 2025. Photo by Andrew Curtis.

Working with the question of how an exhibition might be a book, Flat earth presents a diagrammatic flat plan of a proposal in space.

Stolon Press is a Sydney-based art and publishing collective whose work sits somewhere between art and book, image and text. Established in 2019 by writer Tom Melick and artist Simryn Gill, Stolon Press has published twenty books to date, regularly involving an extended network of collaborators and friends.

Conceived as a flattened ‘map’, Flat earth creates a shared space where artistic, linguistic and material practices converge. Artworks overlap across the galleries as a material gesture toward cohabitation and neighbourliness. Flat earth brings together work by longtime Stolon Press collaborators, including writer, translator, and anthropologist Elisa Taber, and Lebanese-born, Sydney-based artist Khaled Sabsabi. Considering the postponement by Monash University on March 25, 2025, the artists have chosen to show works from their practices and processes made from residual materials.

More Info

Jessica Stockholder returns to Canada and the landscapes that shaped her work →

Jessica Stockholder | The Globe and Mail

Artist Jessica Stockholder poses for a photo in her installation, The Squared Circle: Ringing at the Museum of Contemporary Art in Toronto, on April 17. Courtesy Galit Rodan/The Globe and Mail

by Kate Taylor

Artist Jessica Stockholder has erected a bright yellow wrestling ring on the ground floor of the Museum of Contemporary Art in Toronto. Visitors aren’t permitted to clamber up there themselves, so they will have to make do with the symbolism: It’s a platform.

Like a museum, it’s a performance space for a controlled encounter. Like the world these days, it’s a site for violent display and boastful victory. Yet it is also resolutely cheery, surrounded by walls and floors painted with large geometric shapes in orange, red and green and accompanied by a sculpture made of deconstructed standing lamps and a net of hot-pink cords.

Stockholder, who grew up in Vancouver but made her career in the United States, has taken over the entire lobby space, blurring the lines between her art and the museum’s signage and mechanical elements. Wall texts, featuring witty bits of concrete poetry, insert themselves into awkward corners; a video screen hangs alongside an air vent of a similar size.

“It’s not a white cube space. A lot of people describe it as difficult to work in,” Stockholder said in a recent interview. “There’s a front desk, there’s two entryways. […] I really had a lot of fun. I sort of welcomed everything about the space. If you are not spending your time wishing for a white cube, it’s a lovely space.”

Read more here.

Ann Veronica Janssens's '50 km of atmosphere to give a deep blue' at Kunstenfestivaldesarts, Les Brigittines →

Ann Veronica Janssens
May 25-29, 2025 | Kunstenfestivaldesarts, Les Brigittines, Belgium

"50 km of atmosphere to give a deep blue"courtesy Kunstenfestivaldesarts, © Anna Van Waeg

After exhibiting in the world’s most prestigious museums, Ann Veronica Janssens presents her first performative project for the festival. Set in the awe-inspiring Brigittines Chapel, the atmosphere seems to change in colour, texture, and consistency. Or is it our perception that shifts? As we watch, a person meticulously narrates the installation instructions for some of Janssens’ works, detailing the technical characteristics and possible outcomes. Through these polyphonic descriptions, we might begin reconstructing them in our minds. Manuals of installation turn into manuals of imagination.

Through the immersive, experimental, almost theatrical performance, we enter a sensory installation while her sculptures enter our minds. One of the most anticipated performances of the year, a captivating dialogue between reality and imagination.

From fog sculptures and shifting spectrums of color to the delicate interplay of light on reflective surfaces, Ann Veronica Janssens explores the fluidity of matter and challenges the boundaries of sculpture. Her creations exist equally in their physical form and in the viewer’s perception. Transforming as we move, they invite interaction, sparking a dynamic dialogue with our senses.

More Info

Charline von Heyl in Painting Energy: The Alex Katz Foundation Collection at the Portland Museum of Art →

Charline von Heyl
May 23 – September 14, 2025 | Portland Museum of Art

From left to right, Charline von Heyl, “A Child Telling a Joke,” 1960; Thaddeus G. Mosley, “Enclosure,” 2006; Anselm Kiefer, “Untitled ,” 1996. (Courtesy of the Portland Museum of Art. Photo by Abby Lank)

For over 70 years, Alex Katz has boldly pursued figurative painting, perfecting his disciplined approach across a storied career. This unique creative vision has also guided the selection of works collected by his foundation. The Alex Katz Foundation Collection includes artists with strong ties to the state (Lois Dodd, Rackstraw Downes, Fairfield Porter), leading figures in American modernism (Stuart Davis, Arthur Dove, Marsden Hartley, Edward Hopper), today’s rising artists (Kamrooz Aram, Chase Hall), and major figures in the global art sphere (Marlene Dumas, Philip Guston, Anselm Kiefer, Sigmar Polke). These gifts establish the PMA as a center for the study and display of modern and contemporary art to be shared with visitors in collection galleries, study room visits, and special exhibitions.

More Info

The Art Collective Superflex Wants to Change the World and Thinks You Can Too →

Superflex | The New York Times

Superflex’s Superbrick Factory is a work space in which “Superbricks” are produced and used to construct sculptures in the space. Superbricks are pink, curved bricks made from unfired clay that are constructed to avoid the right angles and straight lines of human architecture. Credit": Mathias Lassen/Courtesy of Museum Jorn

by Laura Rysman

If humans have any chance of saving themselves and life as we know it, we need to see the world in a whole new way — from the point of view of other species.

It’s a theory championed by the Copenhagen art collective Superflex, which builds on the philosophy that art and artists can and should play a role in the future of the world. […] That kind of thinking has placed Superflex among the innovative artists addressing the world’s ills today. Key to their philosophy and others like them is the belief that people should consider the impact on other species and work not only with fellow artists, architects and other experts, but also with communities to address those ills.

“We believe that today art is, and should be, at the forefront of making infrastructure at every possible level,” said Bjornstjerne Christiansen, one of the founders of Superflex, speaking on a panel titled “Worlds Imagined: Biodiversity and Tech” at the Art for Tomorrow conference in Milan last week. “It’s in the actual landscape-making where art has a crucial role to play.”

Read more here.

Ann Veronica Janssens in 'Colour: Seeing Beyond Pigment' at Z33, Hassel, Belgium →

Ann Veronica Janssens
May 16 - August 24, 2025 | Z33, Hassel, Belgium

Ann Veronica Janssens, 09.04.23, 2023 & 04.10.23 #2, 2023. Photo © Kobe Vanderzande

Pigments are everywhere. From paints to cosmetics and clothes, from everyday objects to your food and drinks, they literally add colour to life. Unfortunately, the pigment and dye industry is one of the most polluting industries in the world. In the search for natural alternatives, Laboratorium – the biolab for art, design and biotechnology at KASK & Conservatorium in Ghent – went a long way. Here, melanin proved to be a fascinating track. In Z33, researchers, designers and artists present their results for the first time.

In the exhibition, Belgian artist Ann Veronica Janssens contributed Future Forms of Beauty, where she manipulates transparent ribbed glass with a thin layer of synthetic melanin.

Curated by Annelies Thoelen, Colour: Seeing Beyond Pigment is presented in collaboration with: KASK & Conservatory (HOGENT – Howest), VUB (Sustainable Engeneering Materials Research Group) and UGent (Evolution and Optics of Nanostructures).

More Info

Ann Veronica Janssens in Experiences of the World at Museum of Contemporary Art and Architecture Centre, Lisboa →

Ann Veronica Janssens
May 15 - October 26, 2025 | Museum of Contemporary Art and Architecture Centre, Lisboa

Ann Veronica Janssens, Blue, Red & Yellow — scalemodel 1, 2001. Coleção de Arte Contemporânea do Estado/Coleção Ellipse, em depósito no MAC/CCB. Vista de exposição © António Jorge Silva

Experience involves perception, imagination, and memory; it implies desire and relates to action, practice, and thought. It is always both individual and collective, internal and external. Each person experiences the world differently, in a state of continuous transformation. The world moves—and with it, everything that inhabits it.

A museum is also a place of experience, shaped by its architectural form, the objects it presents, and the relationships it establishes with those who inhabit and visit it. Experiences of the World brings together a selection of singular poetic “microcosms” in constant motion and transformation, challenging our senses to open in multiple directions. From restlessness to wonder, with moments of irony in between, the invited artists critically engage our imaginative capacity, putting our certainties to the test.

Here, objects are displaced from their everyday meanings, out of scale, in precarious balance, with unexpected connections, or altered in their materiality. Environments shift our perception, testing the limits between physical properties and opposing elements—light and darkness, sound and silence, emptiness and presence. Moving and still images awaken imagination and memory. Literary languages and nonlinear writing take on plastic form in space.

Ann Veronica Janssens, Belén Uriel, Eija-Liisa Ahtila, Ernesto Neto, Fernando Brito, Fischli & Weiss, Gabriel Orozco, Horácio Frutuoso, Mattia Denisse, Mauro Cerqueira, Mona Hatoum, and William Kentridge shape this exhibition, which ultimately speaks of art as experience—critical, revelatory, and poetic in its way of thinking about the world.

More Info

Petra Cortright in Electricity for All at Knoxville Museum of Art, Tennessee →

Petra Cortright
May 15 - August 16, 2025 | Knoxville Museum of Art, Tennessee

‘Electricity for All’ at the Knoxville Museum of Art features work by contemporary artists exploring the complex relationships between technology, information, and power. Curated by KMA’s assistant curator, Kelsie Conley, the exhibition showcases work by Petra Cortright alongside pieces by Jim Campbell, Petra Cortright, Daniel Canogar, Nathan Hylden, Beryl Korot, Frederick Hammersley, Matthew Angelo Harrison, Lynn Hershman Leeson, Amor Muñoz, Iván Navarro, Marilène Oliver, Mimi Ọnụọha, Trevor Paglen, Nam June Paik, Elias Sime, Jered Sprecher & Sam van Strien.

More Info

In Dialogue: Angela Bulloch, Richard Deacon, Janice Kerbel, Pae White and Jim Amberson →

Angela Bulloch and Pae White | STPI Creative Workshop & Gallery, Singapore

Artists in the exhibition New Releases Old Friends, Angela Bulloch, Richard Deacon, Janice Kerbel, and Pae White, come together for a panel discussion at STPI Creative Workshop & Gallery moderated by Jim Amberson.

New Releases Old Friends spotlights new facets of their respective practices, with fresh works by Bulloch, Kerbel and Rehberger premiering in Singapore alongside earlier works by Deacon and White – all developed in close collaboration with STPI’s Creative Workshop during their residencies with the esteemed Visting Artists Programme (VAP).

Find more information on the exhibition here.

Sylvie Fleury & Angela Bulloch: THE ART OF SURVIVAL / BABY DOLL SALOON →

Angela Bulloch
May 3 - July 26, 2025 | Mehdi Chouakri, Charlottenburg

At the heart of the intuitive and almost experimental collaboration between Sylvie Fleury and Angela Bulloch—now brought together in the exhibition THE ART OF SURVIVAL / BABY DOLL SALOON in Charlottenburg—are a series of firework performances the artists staged in London (1993), Dijon (1994), and Berlin (1999). Rather than bursting into color across the sky, the fireworks in these works seemed to explode within the space itself. Soot marks left behind on white walls bore witness to the pyrotechnic interventions. These attacks on the interior—long symbolically charged as the realm of the domestic and confined— can be read as a casual yet sharp critique of a visual tradition that, for centuries, has placed women within enclosed, private settings: from Vermeer’s The Lacemaker (c. 1670), to the impressionist paintings of Berthe Morisot, to Edgar Degas’ Woman Ironing (1887). along with focused group presentations of painting, sculpture, photography, and ceramics.

More Info

The Decisive Moment with Jonny Niesche, the Australian contemporary artist behind Gucci's 90x90 project on his career-defining epiphany. →

Jonny Niesche | Assouline Culture Lounge

Photo by Dirk Tacke.

by Sofia Quintero

In the occasion where fine art meets high fashion, few brand collaborations strike the perfect balance between heritage and innovation. But not every brand is Gucci. To celebrate its iconic silk scarves, the Italian heritage brand launched "90x90," a special campaign featuring nine international artists tasked with reimagining five archival themes: flora, fauna, nautical, equestrian, and the GG Monogram.

Among these visionaries is Jonny Niesche, an Australian contemporary artist whose vibrant works have captivated the art world at large with his hypnotic blend of romanticism, abstraction, and minimalism. Known for his explorations of light and space perceptions, Niesche brings a distinct angle to the collaboration. "I have loved Gucci since my teens," Niesche says. "The brand has always had an elegance and classic style that really resonates with me." 90x90 marks Niesche’s first partnership with a fashion label. He deliberately waited for the ideal opportunity, and Gucci was the perfect fit.

Read more here.

Fiona Banner in Glasstress 2025 at the Boca Raton Museum of Art →

Fiona Banner
April 24 – October 12, 2025 | Boca Raton Museum of Art

Fiona Banner
Work 2, 2013
Glass
340 x 180 x 120 cm

Glasstress Boca Raton 2025 is the third iteration of the popular series of exhibitions at the Boca Raton Museum of Art. Glasstress is a project in Murano, Italy, at the Berengo Studio that brings major international artists, many of whom have never worked in glass, to Venice to collaborate with its glass masters. These experts are challenged to rise to the technical challenges that artists at the forefront of contemporary art present and expand beyond their centuries-old techniques. The project also aims to increase the prestige of glass as fine art and to bring Murano's ancient traditions into the contemporary world. The result is innovative artworks that are dramatic.

Glasstress Boca Raton 2025 includes over twenty works by globally celebrated artists. Irish artist Sean Scully, known for lush abstract paintings, turned to sculpture as an artist-in-residence at the Berengo Studio. His Venice Stack is a monumental tower with handmade glass squares of vibrant colors, measuring nearly eight feet tall. Another colorful installation of multiple glass urns by German artist Thomas Schütte, whose work is the subject of a current retrospective at New York's Museum of Modern Art, is also included. Other artists included in Glasstress Boca Raton 2025 are Chinese artist Ai Weiwei with a giant chandelier, British artist Fiona Banner with her life-size glass scaffold, and multiple works by the celebrated British artist Tony Cragg.

More Info

Diana Thater and 8 Other Artists Pick Most Influential Environmental Art of the Past Century →

Diana Thater | Cultured Magazine

“This might not be environmental art, but it is an astounding image of the living environment, and it does what 'environmental' art should do and that is to give us an appreciation of the fascinating lives of others. It covers the 'art' part of the equation be being a REALLY GOOD photograph—something, ironically enough, we see very little of these days.

The story is this: A photographer was filming crested black macaques in Indonesia. He left his camera, and a female macaque snapped a series of self-portraits. You can see her thinking about it across the range of images. There are several shots where she tries serious looks—then she finally grins. Presumably, she was looking at her own reflection in the lens as she tried out different attitudes. In some of the photos you can see the camera lens reflected in her eyes. It’s not just a charming image of self-reflection; smiling from ear to ear, this macaque presents herself to the world. My purpose in making art is in representing those who do not represent themselves. But this macaque doesn’t need me. Crested black macaques are critically endangered.”

Read more here.

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