Fiona Banner in 'In Other Worlds: Acts of Translation' at the Roberts Institute of Art →

Fiona Banner AKA The Vanity Press
June 24 - September 12, 2025 | Roberts Institute of Art, London

Developed in collaboration with Focal Point Gallery, In Other Worlds: Acts of Translation brings together over 25 works, some of which have never been shown in a public gallery before, from the David and Indrė Roberts Collection.

In Other Worlds: Acts of Translation considers translation as an act of movement and transformation. At a time when anything can seem open to interpretation, yet nothing appears to hold the exhibition asks: how do we engage with multiple perspectives without collapsing into relativism? How can we communicate across distances while still recognising differences? How do we engage with others — people, histories, ideas — without assuming full knowledge or easy equivalence?

The works in this exhibition show that to translate is not only to carry something across (the root meaning of the word), but also to expose its limits, its gaps and its generative possibilities. Translation is always partial, always unfinished, and in never being complete, it offers an ongoing commitment to the world and to others.

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Petra Cortright: Paper-Thin Wood Veil Wide Range Hop Suisse! →

Petra Cortright
June 21 - October 10, 2025 | Zeughaus Teufen, Switzerland

Petra Cortright looks at the Appenzellerland with a keen feeling for digital aesthetics and the courage to beauty - without ever having been there. The starting point of her new series of works is the image database of Appenzellerland Tourismus AR with more than a thousand photographs that reflect the visual self-image of a region between staging and idyll. The entrance was given to the artist on 1. June 2023. Cortright, one of the most important voices of digital painting, feeds these images into her personal archive of brushes, filters and textures. This results in projections, textile views and, for the first time, works on wood – shimmering, multi-layered compositions that are reminiscent of impressionistic landscapes but are produced purely digitally. Her works are considered a contemporary counterpart to Monet: it paints quickly, directly, with Sofiware instead of paint. What emerges is a radical view of our own - not critically, but lovingly: "For the first time, I cannot make the pictures more beautiful," said Cortright in the zoomcall, "the reality with you is already too beautiful." A plea for beauty – and for a new vision.

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Fiona Banner in the annual Summer Exhibition at the Royal Academy of Arts, London →

Fiona Banner AKA The Vanity Press
June 17 - August 17, 2025 | Royal Academy of Arts, London

Fiona Banner, 𝐕𝐔𝐋𝐕𝐀 𝐕𝐎𝐋𝐕𝐎 (𝟏𝟗𝟑𝟎-𝟐𝟎𝟐𝟏)
Aluminium from Tornado ZE728, Perspex frame
Framed 26 x 33 x 6.5 cm
2025
Edition of 20

Held every year without interruption since 1769, the Summer Exhibition showcases a diverse array of contemporary works, including prints, paintings, films, photography, sculpture, and architectural works. Over 1,700 fabulous pieces by famous artists and members of the public have been selected by architect Farshid Moussavi RA and her Summer Exhibition committee, including a new editioned work by Fiona Banner AKA The Vanity Press, alongside works by Tracey Emin and Ryan Gander.

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Charline von Heyl: The Road to Ruin at The George Economou Collection, Athens →

Charline von Heyl
June 14, 2025 - March 2026 | The George Economou Collection, Athens

Across three floors of gallery space, The Giddy Road to Ruin will feature select works from the last several decades. The earliest is an outstanding painting from the George Economou Collection—an emblematic example of the artist’s practice—Untitled (11/93, I) (1993), while the most recent is her first-ever photographic work, Athens, made in 2024.

Charline von Heyl is one of the most significant painters of her generation. Educated in Germany in the 1980s and inspired by both senior artists and contemporaries—including Martin Kippenberger, Rosemarie Trockel, and Michael Krebber, as well as Albert Oehlen, Jutta Koether, and Cosima von Bonin—her work began to carve out new territory, particularly after her move to New York in 1996. While her paintings share the rigor and intensity of theirs, von Heyl’s work eschews irony in favor of a more openly amused humor and a certain nimbleness in the synthesis of mind and hand.

Charline von Heyl: The Giddy Road to Ruin is co-curated by Adam D. Weinberg and Skarlet Smatana, the director of The George Economou Collection, in close collaboration with the artist. A publication with essays by Weinberg and artist Helen Marten will accompany the exhibition.

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Artist Jonny Niesche takes us on a tour of his home →

Jonny Niesche | Esquire

by Amy Campbell

One of the most exciting names in contemporary Australian art right now, Niesche has exhibited all over the world, from Ibiza to Amsterdam to Germany, where he was the official artist for the 2024 Munich Opera Festival. Just this year, Gucci handpicked him to reimagine its iconic silk scarves and archival motifs as part of the Italian fashion house’s 90 x 90 project. His work is held in the collections of some of Australia’s biggest institutions, the NGV, MCA and MONA among them.

But we’re not here to talk only about the work Niesche makes. In addition to being a successful working artist, he is also an avid collector. The collection he and his wife Amber have built, which brightens the walls, floors and surfaces of their two-story home, contains some of the most significant names in contemporary Antipodean art.

Read more here.

Abraham Cruzvillegas, Danh Vo, Rirkrit Tiravanija at Galerie Chantal Crousel →

Rirkrit Tiravanija
June 13 - July 27, 2025 | Galerie Chantal Crousel, Paris

Around La salle de jeux (1998), a historic and participatory piece by Rirkrit Tiravanija, Galerie Chantal Crousel presents a selection of works by Abraham Cruzvillegas and Danh Vo.

La salle de jeux (1998) by Rirkrit Tiravanija evokes a café or clubhouse—social settings where people meet to drink tea, watch television, play cards or share memories. A selection of games, DVDs and CDs is made available, and visitors are invited to take over the exhibition space as they wish. A corkboard, ready to receive any notes or drawings guests feel like posting, further encourages social exchange.

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Uta Barth in Split Diopter 2, curated by Jan Tumlir and Reza Monahan, at SCI-Arc Gallery, Los Angeles →

Uta Barth
June 6 - July 20, 2025 | Southern California Institute of Architecture Gallery, Los Angeles

Uta Barth, Field #9, 1995

Split Diopter 2 explores the relationship between fine art and cinema, as well as the impact of technical optics on creative practice. This exhibition disassembles the cinematic apparatus of the “waking dream” into a collection of parts: still frame, action sequence, mise-en-scene, soundtrack, film reel, promotional poster, etc.—each of which is assigned to an individual work of art. Navigating this array of objects in the space of the gallery, viewers are enjoined to imagine their own filmic narrative, while also reflecting on its material means of construction.

Split Diopter 2 features works by Uta Barth, Matthew Brannon, John Divola, Alex Israel, William E. Jones, and Hedi El Kholti. A soundtrack has been composed for the exhibition by Eyvind Kang. Also included is a dance video shot with a split diopter lens, choreographed by Brian Golden and performed by Jas Lin, Madison Ostrach, and Euseon Song. Finally, Split Diopter 2 presents a documentary in which artists Stan Douglas, Lynne Marsh, Patti Podesta, Jeffrey Stuker, and Liam Young discuss the influence of cinema on their respective practices.

*Split Diopter 2 is based on Split Diopter held at Chapman University’s Guggenheim Gallery and Co-Curated by Guggenheim Gallery Director, Marcus Herse.

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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. 

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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.

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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.

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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.

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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).

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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.

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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.

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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.

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.