Showing posts with label biography. Show all posts
Showing posts with label biography. Show all posts

11/09/25

Warhol/Cutrone @ Galerie Gmurzynska, Zurich - Exhibition curated by James Hedges

Warhol/Cutrone
Galerie Gmurzynska, Zurich 
Through September 30, 2025

Warhol/Cutrone, an exhibition at Galerie Gmurzynska in Zurich, curated by James Hedges, juxtaposes Andy Warhol and Ronnie Cutrone, including paintings, drawings, and unique polaroids.
“Ronnie Cutrone was a painter and illustrator known for his Post-Pop imagery featuring cartoon characters like Woody the Woodpecker, Bart Simpson, and Bugs Bunny. Cutrone’s life and career make us remember New York at its creative apex. Reminiscing of another era, Cutrone said, “New York was elegant and sleazy. Now it’s a shopping mall for dot-commers. We need our crime rate back. I want my muggers and hookers back.” - James Hedges 
Andy Warhol and his right-hand man Ronnie Cutrone were the perceived masters of Manhattan in the 1970s and 1980s.

Working in synergistic fashion with Andy Warhol, Ronnie Cutrone helped execute some of the artist’s most iconic silkscreens. The duo’s collaborations countenance: Hand Tinted Flowers (ca. 1972), Invisible Sculpture (1972-83), Drag Queens/Ladies and Gentlemen (1974-75), Oxidation (Piss Paintings) (mid-late 1970s), Sex Parts/Torso (mid-1970s), Hammer & Sickle (1976-1977), Skulls (1976-77), Gems (1978), Shadow Paintings (1979), and Butcher Knives, Guns, Dollar Signs (1982).

With Andy Warhol one special focus of this exhibition is on his unique polaroids. Many of Warhol’s polaroid photographs have never been exhibited before and feature stars such as Grace Jones, Joseph Beuys, Keith Haring, Lou Reed and Candy Darling. Cutrone’s three-dimensional photographs of the Factory, shown publicly as well for the first time ever, give a historic and unprecedented peek into Warhol’s circle.

While with Ronnie Cutrone the focus of this exhibition is on his cartoon-infused painting, sculpture and drawings which shocked the New York scene in the 1980s. These works garnered him major solo shows in the inaugural Post-Pop wave, whilst igniting debates over the sanctity of the American symbols such as the flag and Mickey Mouse. After 1983, when Ronnie Cutrone left Warhol’s Factory, he perused his independent art career which reached great heights, including highly lauded museum exhibitions at the Whitney, the Museum of Modern Art, and the L.A. County Museum of Art, amongst many others.
“One thing I picked up from Andy: say loud and clear because if the WHOLE world gets it, the art world will get it too.” - Ronnie Cutrone 
Artist Ronnie Cutrone

Ronnie Cutrone (10 July, 1948 - 21 July, 2013) worked as Andy Warhol’s preeminent assistant from 1972 to 1982, though his collaborations with Warhol well preceded this. Ronnie Cutrone met Andy Warhol when he was only sixteen years old. Ronnie Cutrone, in 1966, joined the ranks of The Velvet Underground, formed by Lou Reed, John Cale, and Warhol, as a performer/dancer. Three years later, Ronnie Cutrone began writing as a columnist for Warhol’s Interview magazine, lauded for dovetailing reviews on avant-garde art exhibitions and features on celebrities, nightlife fixtures, and even politicians like Nancy Regan.

In 1972, Cutrone’s took up the mantle as Warhol’s apprentice, a post he maintained for the next decade. This was the zenith of Warhol’s international fame, and the Pop Art bastion took Ronnie Cutrone under his wing, entrusting Cutrone to, unlike Warhol’s other assistants, “work on the one thing he cared about the most, which was his art”. Although Ronnie Cutrone was, by this point, already burgeoning as a nascent artist of his own right—having assisted with programming John Giorno’s “Dial-A-Poem” at MoMA in the 1970 “Information” exhibition curated by Kynaston McShine.

Ronnie Cutrone’s responsibilities varied, ranging from conceptualizing Warhol’s subjects, mixing palettes, photographing live models and executing the silkscreen. Indeed, as the two artists ‘artistic relationship matured, the lines of influence became bi-directional. As philosopher, critic, and Warhol expert Arthur Danto observed in his biography, Andy Warhol (2009), “Cutrone played an important role in the later phase of Andy’s artistic career”.

During Cutrone’s time at Warhol’s Factory, he rubbed shoulders with Lou Reed, Jim Morrison, Jimi Hendrix, Mick Jagger, Grace Jones, Lucio Amelio, Jean-Michel Basquiat, Fred Hughes, VictorHugo, Paul Morrisey, Gerard Malanga, Anjelica Huston, Debbie Harry, Salvador Dali and Alice Cooper, amongst others. After long days and nights of helping Warhol at the Factory, Ronnie Cutrone would frequent artist hubs like Max’s Kansas City, drinking “all night with bob Rauschenberg, Larry Rivers, Malcolm Morlye and Robert Smithson” or unwinding at the Mudd Club.

GALERIE GMURZYNSKA
Paradeplatz 2, Zurich

Warhol/Cutrone @ Galerie Gmurzynska, Zurich, June 14 – September 30, 2025

Westwood | Kawakubo @ NGV International, Melbourne - A Major Fashion Design Exhibition at the National Gallery of Victoria

Westwood | Kawakubo 
National Gallery of Victoria, Melbourne 
7 December, 2025 - 19 April 2026

Vivienne Westwood
World's End, London
(fashion house)
Vivienne Westwood (designer)
Malcolm McLaren (designer) 
Outfits from the Pirate collection, autumn–winter 1981–82 
Pillar Hall, Olympia, London, 31 March 1981
Photo © Robyn Beeche

Rei Kawakubo
Comme des Garçons, Tokyo
 
(fashion house)
Rei Kawakubo (designer) 
Look 5, from the Break Free collection, 
spring–summer 2024. Paris, 30 September 2023 
Image © Comme des Garçons
Model: Hannah Heise

Vivienne Westwood
World's End, London
 (fashion house)
Vivienne Westwood (designer)
Malcolm McLaren (designer) 
Outfit from the Savage collection, spring–summer 1982 
Pillar Hall, Olympia, London, 22 October 1981 
Photo © Robyn Beeche

Rei Kawakubo
Comme des Garçons, Tokyo
 
(fashion house)
Rei Kawakubo (designer) 
Look 28, from the 2 Dimensions collection, 
autumn–winter 2012. Paris, 3 March 2012
Image © Comme des Garçons

The NGV’s world-premiere exhibition pairs two global icons – and iconoclasts – of the fashion world for the first time, British designer VIVIENNE WESTWOOD (1941 – 2022) and Japanese designer REI KAWAKUBO (b. 1942) of Comme des Garçons. Born a year apart in different countries and cultural contexts, each brought a rule-breaking radicalism to fashion design that subverted the status quo. Today, their critically acclaimed collections are celebrated globally for questioning conventions of taste, gender and beauty, as well as challenging the very form and function of clothing.

Katie Somerville
Portrait of Katie Somerville
Senior Curator, Fashion and Textiles, NGV 
with VIVIENNE WESTWOOD, London (fashion house)
Vivenne Westwood (designer)
Ensemble, 1987, Harris Tweed collection, autumn-winter, 1987–88
at the announcement of Westwood | Kawakubo on display 
at NGV International 7 December 2025 to 19 April 2026
Photo: Eugene Hyland

Danielle Whitfield
Portrait of Danielle Whitfield, 
Curator, Fashion and Textiles, NGV 
with COMME DES GARÇONS, Tokyo (fashion house) 
Rei KAWAKUBO (designer) 
Look 9, 2012, 2 Dimensions collection, 
autumn-winter 2012–13
at the announcement of Westwood | Kawakubo on display 
at NGV International 7 December 2025 to 19 April 2026
Photo: Eugene Hyland

Through a showstopping display of more than 140 innovative and ground-breaking designs, Westwood | Kawakubo explores the convergences and divergences between these two self-taught rebels of the fashion world. The exhibition brings together important loans from international museums and private collections – including New York’s Metropolitan Museum, The Victoria & Albert Museum, Palais Galliera, and the Vivienne Westwood archive – alongside 100+ outstanding works from the NGV Collection. The exhibition features more than 80 works that have recently entered the NGV Collection, including nearly 40 outstanding works recently gifted to the NGV by Comme des Garçons especially for this exhibition. 

Rei Kawakuko
Comme des Garçons, Tokyo
 
(fashion house)
Rei Kawakubo (designer) 
Look 28, from the 2 Dimensions collection, 
autumn–winter 2012. Paris, 3 March 2012
Image © Comme des Garçons
Model: Henna Lintukangas

Rei Kawakuko
Comme des Garçons, Tokyo
 
(fashion house)
Rei Kawakubo (designer) 
Look 2, from the Smaller is Stronger collection, 
autumn–winter 2025. Paris, 8 March 2025 
Image © Comme des Garçons 
Model: Mirre Sonders

Presented thematically, Westwood | Kawakubo charts the defining collections and concerns of their practices – from the mid-1970s to the present day – inviting audiences to consider the multiple ways that Vivienne Westwood and Rei Kawakubo have each rewritten fashion conventions and codes over the course of their careers. These include: the impact and influence of the punk zeitgeist of the 1970s; the reinterpretation and reinvention of historical fashion references; their experimental design methodologies and the interrogation of gender and the idealised body. Alongside fashion, the exhibition also features archival materials, photography, film and runway footage, offering audiences a deep insight into the minds and creative processes of these two legends of contemporary fashion.

Vivienne Westwood
Vivienne Westwood, London
(fashion house)
Vivienne Westwood (designer) 
Look 49, from the Anglomania collection, 
autumn–winter 1993–94
Le Cercle Républicain, Paris, March 1993
Photo © firstVIEW 
Model: Kate Moss

Exhibition highlights include Westwood’s iconic punk ensembles from the late 1970s, popularised by London bands such as The Sex Pistols and Siousie Sioux; a romantic MacAndreas tartan gown from Westwood’s Anglomania collection (autumn-winter 1993-94), famously worn by Kate Moss on the runway; and the original version of the corseted Wedding dress first shown in the Wake Up, Cave Girl Autumn-winter 2007-08 collection and later worn by Sarah Jessica Parker in Sex and The City: The Movie.

Rei Kawakubo
Comme des Garçons, Tokyo
(fashion house) 
Rei Kawakubo (designer) 
Look 4, from the Blood and Roses collection, 
spring–summer 2015. Paris, 27 September 2014 
Image © Comme des Garçons 
Model: Andrea Hrncirova

Rei Kawakubo
Comme des Garçons, Tokyo
 (fashion house) 
Rei Kawakubo (designer)
Look 1, from the Blue Witch collection, 
spring–summer 2016. Paris, 3 October 2015
Image © Comme des Garçons 
Model: Maja Brodin

Rei Kawakubo
Comme des Garçons, Tokyo
 (fashion house) 
Rei Kawakubo (designer)
Look 6, from the Invisible Clothes collection, 
spring–summer 2017. Paris, 9 March 2017 
Image © Comme des Garçons 
Model: Georgia Howorth

In 2017, The Met in New York staged the exhibition, Rei Kawakubo / Comme des Garçons: The Art of the In-Between, which opened with the pop culture phenomenon the Met Gala. The NGV exhibition features a version of the sculptural petal ensemble worn by Rihanna on the red carpet, as well as key designs from collections of those worn by Lady Gaga, Katy Perry, and Tracee Ellis Ross. Also on display are dramatic abstract works spanning the recent decades which challenge the relationship between the body and clothing, including the playful Two Dimensions, spring-summer 2012, and the abstract forms of Invisible Clothes spring-summer 2017. Striking gingham sculptural forms from Body Meets Dress – Dress Meets Body collection (spring-summer 1997) also feature.

Rei Kawakubo
Comme des Garçons, Tokyo
 (fashion house) 
Rei Kawakubo (designer)
Look 6, from the Body Meets Dress–Dress Meets Body collection, 
spring–summer 1997 
Image © Comme des Garçons

Major showstopping moments in the exhibition include a dramatic, spotlit gallery highlighting how both designers have been influenced by fashion history; Westwood’s sweeping silk taffeta ball gowns inspired by 18th century court dress are presented alongside Kawakubo’s punk interpretations in pink vinyl and rich floral jacquard. A further dynamic display juxtaposes the bold, red tartans, English tweeds, grey plaids and navy pinstripes of Kawakubo with Westwood’s iconic tailoring. Sculptural, deconstructed, cinched and exaggerated silhouettes demonstrate their exacting approaches to cutting and textile traditions.

The exhibition design presents the two distinct voices of Vivienne Westwood and Rei Kawakubo as parallel yet fundamentally unique forces in fashion. The design uses symmetry as its cornerstone concept, presenting these designers like left and right hands; symmetrical but not identical.

Rei Kawakuko
Comme des Garçons, Tokyo
 
(fashion house)
Rei Kawakubo (designer) 
Look 1, from the 18th Century Punk collection, 
autumn–winter 2016. Paris, 5 March 2016
Image © Comme des Garçons 
Model: Anna Cleveland

The exhibition explores Westwood and Kawakubo’s practices across five themes. Punk and Provocation considers how punk, both aesthetically and conceptually, crystallized in the early collections of each designer and has remained a touchstone, if not a design manifesto, throughout their careers. Highlight Vivienne Westwood works in this section convey some of the key aspects of punk clothing – offensive graphics, bondage trousers, distressed knitwear, tartan, leather, safety pins and chains. In dialogue, four notable works by Rei Kawakubo demonstrate the influence and ethos of punk in her practice.

Vivienne Westwood
World's End, London
 (fashion house)
Vivienne Westwood (designer)
Malcolm McLaren (designer) 
Outfit from the Nostalgia of Mud collection, 
autumn–winter 1982–83. 
Pillar Hall, Olympia, London, 24 March 1982 
Photo © Robyn Beeche

Rupture explores the unique design lexicons of Vivienne Westwood and Rei Kawakubo, revealing how each have been driven by the desire to break free of convention and reinvent the rules of dress. Early highlights here include displays of Westwood’s Pirate (spring-summer 1981) and Nostalgia of Mud (autumn-winter 1983) collections that encapsulated the New Romantic and Buffalo movements of 1980s London, contrasted by recent works from Kawakubo’s Not Making Clothes collection, spring-summer 2014, which saw her negate the boundaries between body and garment.

Vivienne Westwood
Vivienne Westwood, London 
(fashion house)
Vivienne Westwood (designer) 
Fragonard, evening dress, 
from the Cut, Slash & Pull collection, 
spring–summer 1991 
116 Pall Mall, London, October 1990 
Photo © Robyn Beeche 
Model: Sara Stockbridge

Reinvention looks at the way both designers have referenced the past or looked to the future, looking to sources of inspiration that include fashion history, tailoring traditions, decorative arts and textiles. For Vivienne Westwood art history has been a constant influence, most notably in her Portrait collection (autumn-winter 1990), which featured prints of famous eighteenth century paintings by Boucher and Fragonard emblazoned on the corsetry. For Rei Kawakubo, breaking the rules of taste has resulted in collections that bring together clashing pattern, ruffles and frills.

The Body: Freedom and Restraint explores the ways in which both Vivienne Westwood and Rei Kawakubo have consistently challenged existing conventions related to ideal and idealised female bodies and rallied against objectification. Beginning with iconic works from Westwood’s Erotic Zones collection (spring-summer 1995) and Kawakubo’s The Future of Silhouette (autumn-winter 2017-18), this section considers the ways in which both designers have redefined the female body.

Rei Kawakubo
Comme des Garçons, Tokyo
 
(fashion house)
Rei Kawakubo (designer) 
Look 13, from the Uncertain Future collection, 
spring–summer 2025. Paris, 28 September 2024 
Image © Comme des Garçons
Model: Astrid Wagemakers

The final section of the exhibition, The Power of Clothes, considers fashion as a tool to convey a message, personal or political, and the powerful individual female voice. It concludes with recent Westwood collections – Propaganda (autumn-winter 2025) and Chaos Point (autumn-winter 2008-09) – that utilise clothing and fabrics as a canvas for messaging about the environment, social inequity of political freedoms in an echo of her early punk days. These are seen in context with the self-reflective power of Kawakubo’s recent collections (Uncertain Future, spring-summer 2025) which express her emotional response to the state of the world.

Tony Ellwood
Portrait of Tony Ellwood AM, Director, NGV 
with VIVIENNE WESTWOOD, London (fashion house)
Vivenne Westwood (designer)
Gown, 1998, Dressed to Scale collection, autumn-winter 1998-99 
at the announcement of Westwood | Kawakubo on display 
at NGV International 7 December 2025 to 19 April 2026
Photo: Eugene Hyland
Tony Ellwood AM, Director, NGV said: ‘This exhibition celebrates two leading female fashion designers from different cultural backgrounds, who both had strong creative spirits and pushed boundaries. Through more than 140 designs from the NGV Collection and key international loans, Westwood | Kawakubo invites audiences to reflect on the enduring legacies of these groundbreaking designers and contemplate the ways in which fashion can be a vehicle for self-expression and freedom."
The exhibition will be accompanied by an ambitious world-first publication, also titled Westwood | Kawakubo, exploring the intersecting histories of Westwood and Kawakubo with new reflections from industry experts including Jane Mulvaugh, Valerie Steele, Stephen Jones, Akiko Fukai and Dame Zandra Rhodes.

FASHION DESIGNER VIVIENNE WESTWOOD

Vivienne Isabel Swire was born in Glossop, Derbyshire on 8 April 1941. In 1961, she married Derek Westwood, later divorcing and partnering with Malcolm McLaren. The couple became creative collaborators and proprietors of a retail outlet at 430 Kings Road Chelsea, going on to have a radical influence on international fashion over the next decade. Westwood and McLaren stocked the store with a combination of their own designs and purchased items, changing the name every few years to reflect the tenor of the clothing. Over subsequent years the store became; Let it Rock (1971), Too Fast To Live, Too Young To Die (1972), Sex (1974), Seditionaries (1977) and World’s End (1980).  

In 1980, Vivienne Westwood and Malcom McLaren’s interests began to diverge and by 1984 Vivienne Westwood was designing independently, moving her business to Italy for production with her new business partner Carlo d’Amario. Over the next two decades, Vivienne Westwood redefined her practice, embracing and reimagining Saville Row tailoring techniques and British textiles. She also began conducting regular archive research of London’s Victoria and Albert Museum and The Wallace Collection. In 1990 she launched her first full menswear collection and structured her business into a variety of labels, including Gold Label and its diffusion line, Red Label. Twice-awarded British Designer of the Year, in 1992 Vivienne Westwood was granted an OBE, and in 2006, a DBE. Vivienne Westwood died in London on 29 December 2022.

FASHION DESIGNER REI KAWAKUBO

Japanese designer Rei Kawakubo was born in Tokyo in 1942 and graduated from Keio University in 1964 with a degree in Literature and Fine Art. After working first as a stylist, she began designing her own clothes and established Comme des Garçons in 1969. The label was incorporated in 1973, coinciding with the presentation of her first major women’s collection. Despite her lack of formal training, Rei Kawakubo courted critical and commercial success. A new Tokyo boutique was launched in 1975, followed by a dedicated menswear line, Homme Comme des Garçons, in 1978. Rei Kawakubo debuted on the Paris runway three years later, in 1981, where she continues to show her two main collections twice-yearly. Her work is known for its conceptual and avant-garde leanings, and for a groundbreaking approach to form and function. Many subsequent projects and ready-to-wear lines have since been introduced and include knitwear, furniture and perfume. 

Rei Kawakubo’s work has been featured by museums in solo and group exhibitions and she has received numerous honours including the Mainichi Fashion Award in 1983 and 1988, Fashion Group Night of the Stars Award in 1986, the French Chevalier de L’Ordre des Arts et des Lettres in 1993 and, most recently, the Harvard University Graduate School of Design Excellence in Design Award in 2000. In 2017, her work was the subject of the Metropolitan Museum of Art’s Costume Institute exhibition, Rei Kawakubo / Comme des Garçons: The Art of the In-Between.

NATIONAL GALLERY OF VICTORIA
NGV International, 180 St Kilda Road, Melbourne, 3004 VIC

07/09/25

Coco Fusco @ El Museo del Barrio, NYC - "Tomorrow, I Will Become an Island" Exhibition

Coco Fusco
Tomorrow, I Will Become an Island
El Museo del Barrio, New York 
September 18, 2025 — January 11, 2026

Coco Fusco
Coco Fusco
Photo by Aurelio Fusco

Coco Fusco
Coco Fusco
Your Eyes Will Be an Empty Word (still), 2021
HD Video, 13:30 mins
Courtesy of the artist and Mendes Wood DM

Coco Fusco
Coco Fusco
A Room of One's Own: Women and Power
in the New America, 2006-2008
Performance documentation
Courtesy the artist and Mendes Wood DM

El Museo del Barrio presents Coco Fusco: Tomorrow, I Will Become an Island, the first U.S. survey of the influential Cuban-American interdisciplinary artist and writer COCO FUSCO (b. 1960, lives in New York). The exhibition is spanning more than three decades of Fusco’s groundbreaking career.

Widely recognized for her incisive explorations of the dynamics of politics and power, Fusco’s interdisciplinary practice spans video, performance, installation, photography, and writing. Tomorrow, I Will Become an Island traces her extensive practice through a selection of more than twenty of her works, created since the 1990s and extending to a new photographic series on view for the first time at El Museo del Barrio.
“Coco Fusco stands among the most provocative voices in contemporary art. Her work challenges conventions, sparks vital conversations, and continues to resonate powerfully at a time of profound social and political reckoning.” —Patrick Charpenel, Executive Director, El Museo del Barrio
Organized thematically, the exhibition explores central concerns that Coco Fusco has addressed across her practice, including immigration, military power and surveillance, post-revolutionary Cuban history, and the lasting legacies of colonialism. The presentation offers an expansive view of her multidisciplinary approach through key bodies of work, including:

Immigration Narratives: Works addressing the perception of immigrants in the US and Europe, including Everyone Here is a New Yorker (2025), a new photographic suite that extends from Fusco's 2024 public art video animation commission by More Art, Inc.

Intercultural Misunderstandings: A room dedicated to Fusco’s projects, created in counterpoint to the 500th anniversary of the so-called “discovery” of the Americas, including a reproduction of her iconic Two Undiscovered Amerindians Visit the West (1992/2025), originally performed in collaboration with Guillermo Gómez-Peña.

Interrogation Tactics: Video, photographs, and performance documentation that consider military tactics, surveillance technologies, and the exploitation of female sexuality in the War on Terror.

Poetry and Power: A focused selection of video, featuring several works that reflect on the history of artists’ challenges to the Cuban government—a central subject in Fusco’s oeuvre. Together, this selection illuminates the breadth and depth of Fusco’s artistic vision—one that remains acutely relevant in today’s national political and cultural climate.

Coco Fusco
Coco Fusco 
La noche eterna (The Eternal Night), 2023
HD Video, 1:13:45 mins
Courtesy the artist and Mendes Wood DM

Coco Fusco
Coco Fusco 
La plaza vacía (The Empty Plaza), 2012
HD Video, 11:53 mins
Collection of El Museo del Barrio, New York 
Acquisition enabled by VEZA New Media Fund 2022 
and headline supporters South SOUTH and Niio 

Coco Fusco - Paula Heredia
Coco Fusco and Paula Heredia
The Couple in the Cage: A Guatinaui Odyssey, 2003
Video, 31 mins
Collection of El Museo del Barrio, New York
Acquired through "PROARTISTA: Sustaining the Work 
of Living Contemporary Artists," 
a fund from the Jacques and Natasha Gelman Trust 2008.1
“El Museo del Barrio has been a steadfast supporter of Coco Fusco’s groundbreaking practice from early on, recognizing the power and potency of her work. This includes her participation in the groundbreaking 2008 exhibition Arte No es Vida, as well as her presence in recent collection-based shows such as Culture and the People and Something Beautiful. This survey extends that dialogue, offering audiences a deeper understanding of an artist whose voice remains as vital as ever.” —Susanna V. Temkin, Interim Chief Curator, El Museo del Barrio
Tomorrow, I will Become an Island is organized by El Museo del Barrio in collaboration with MACBA Museu d’Art Contemporani de Barcelona.

Borrowing its title from the artist's recent monograph publication, Tomorrow, I will Become an Island is organized at El Museo del Barrio by Susanna V. Temkin, interim chief curator, and Rodrigo Moura, former chief curator, with support from Lee Sessions and Maria Molano Parrado. Exhibition design by Solomonoff Architecture Studio/SAS and graphic design by estúdio gráfico.

ARTIST COCO FUSCO

Coco Fusco is an interdisciplinary artist and writer based in New York. She is a recipient of a 2023 Free Speech Defender Award from the National Coalition Against Censorship, a 2021 American Academy of Arts and Letters Art Award, a 2021 Latinx Artist Fellowship, a 2021 Anonymous Was a Woman award, a 2018 Rabkin Prize for Art Criticism, a 2016 Greenfield Prize, a 2014 Cintas Fellowship, a 2013 Guggenheim Fellowship, a 2013 Absolut Art Writing Award, a 2013 Fulbright Fellowship, a 2012 US Artists Fellowship and a 2003 Herb Alpert Award in the Arts.

Fusco’s performances and videos have been presented at the 56th Venice Biennale, the Sharjah Biennale, Frieze Special Projects, Basel Unlimited, three Whitney Biennials (2022, 2008, and 1993), and several other international exhibitions. Her works are in the permanent collections of the Museum of Modern Art, The Walker Art Center, The Art Institute of Chicago, The Whitney Museum, the Centre Pompidou, and the Museum of Contemporary Art of Barcelona. 

Coco Fusco is the author of numerous books, and she contributes regularly to The New York Review of Books and numerous art publications. Her monograph publication Tomorrow, I will Become an Island was published by Thames & Hudson in 2023.

Coco Fusco received her B.A. in Semiotics from Brown University (1982), her M.A. in Modern Thought and Literature from Stanford University (1985), and her Ph.D. in Art and Visual Culture from Middlesex University (2007). She is a Professor at the Cooper Union School of Art.

EL MUSEO DEL BARRIO, NEW YORK
1230 5th Avenue at 104th Street, New York, NY 10029

04/09/25

Alexandre Diop @ Stephen Friedman Gallery, London - "Run For Your Life !" Exhibition

Alexandre Diop
Run For Your Life !
Stephen Friedman Gallery, London
19 September - 1 November 2025

Alexandre Diop
Alexandre Diop
A Vos marques ! Prêt ! Illegal, 2025
© Alexandre Diop, courtesy Stephen Friedman Gallery

Stephen Friedman Gallery presents Run For Your Life !, a solo exhibition of new paintings by Franco-Senegalese artist ALEXANDRE DIOP. This marks the artist's debut show with the gallery and his first solo exhibition in London.

Alexandre Diop’s powerful mixed-media works explore themes of history, metaphorical archaeology and socio-political change, with this body of work focusing on the relationship between movement and time, represented by dance or migration. The title of the exhibition, Run For Your Life !, is an invitation to stand for change, show tolerance, and be alert to crises around the world. Diop’s practice is interdisciplinary; his experience as a dancer, musician, and visual artist allows him to create artworks that transcend traditional paintings.

Physicality is central to the artist’s process. Diop’s rigorous approach to his work—which he refers to as object-images—combines found and recycled materials such as scrap metal, wood, leather, and textile remnants with classical techniques like oil painting. The materials are sourced from scrapyards, urban streets and derelict buildings, and then transformed through an intensive process of layering, burning, tearing, stapling and collaging onto wood panels. His material language, while firmly rooted in personal and political narratives, also engages with multiple art-historical lineages. His work draws from movements such as Dada, Art Brut, Expressionism and the Viennese Secession, while maintaining a strong dialogue with both West African aesthetic traditions and the visual codes of contemporary urban culture.

Alexandre Diop’s practice is anchored in drawing. He combines calligraphic strokes, symbols, and layered images that are painted, drawn, or sprayed. Figures— both human and animal—emerge from textured surfaces that blur the boundaries of painting, sculpture, and relief. Their stance recalls the awareness of a dancer, attuned to the body’s own rhythms. In this sense, the works look inward: they stage a dialogue between movement and stillness, surface and depth, becoming mirrors through which viewers may glimpse fragments of their own inner reality.

At the same time, Alexandre Diop’s work confronts the world beyond the self. It reflects on how individuals are bound by external forces—systems of illegality, oppression, and exclusion. In A Vos marques ! Prêt ! Illegal, 2025, a central figure cries out yet remains unheard, embodying the suffocation of life within unjust structures. The work echoes the story of Jesse Owens, the African-American runner who won Olympic gold in 1936 under Nazi rule, and becomes a call for freedom, justice, and resilience against overwhelming odds. Alexandre Diop constructs new worlds where historical, political, and social narratives unfold, offering his figures a space to resist, endure, and reimagine history.

Artist Alexandre Diop

Alexandre Diop is a Franco-Senegalese artist whose powerful, mixed-media works interrogate themes of ancestry, beauty, violence and social transformation. Drawing upon his experience as a dancer, musician, and visual artist, Alexandre Diop brings a multidisciplinary lens to his practice, crafting works that are deeply visceral and formally innovative. Alexandre Diop was born in Paris, France in 1995. He lives and works in Vienna, Austria.

Alexandre Diop’s work has been the subject of major solo museum exhibitions. In 2023, his work was presented with 18th century anatomical wax models of bodies and body parts in Anatomie at Josephinum Medical Museum, Vienna, Austria. His residency at the Rubell Museum in Miami culminated in a touring exhibition, Jooba Jubba, l’Art du Défi, the Art of Challenge, shown in Miami (2022) and Washington DC (2023). In 2022, Alexandre Diop exhibited alongside Kehinde Wiley in La Prochaine Fois, Le Feu, presented by Reiffers Art Initiatives in Paris.

Notable group exhibitions include Les Apparitions, Reiffers Art Initiatives, Paris, France (2025); De Sculptura, Albertina Klosterneuburg, Klosterneuburg, Austria (2025); The Beauty of Diversity, Albertina Modern, Vienna, Austria (2024); Being Mortal, Dom Museum, Vienna, Austria (2023); The New African Portraiture, Shariat Collections, Kunsthalle Krems, Krems an der Donau, Austria (2022); and Le Mouton Noir, Gesso Art Space, Vienna, Austria (2021).

Alexandre Diop’s works can be found in the collections of Albertina Museum, Vienna, Austria; AMA Venezia, Venice, Italy; AMOCA, Cardiff, Wales, UK; Espacio Tacuarí, Buenos Aires, Argentina; Josephinum Medical Museum, Vienna, Austria; Kunsthalle Krems, Krems an der Donau, Austria; MB Collection, Germany; National Museum of African American History and Culture, Washington DC, USA; Reiffers Art Initiatives, Paris, France; Rubell Museum, Miami, Florida and Washington DC, USA; Ståhl Collection, Norrköping, Sweden; Stora Wäsby Public Collection, Stockholm, Sweden and The Bunker Artspace, West Palm Beach, Florida, USA.

STEPHAN FRIEDMAN GALLERY LONDON
5-6 Cork Street, London W1S 3LQ 

29/08/25

Berend Strik @ Hopstreet Gallery, Brussels - "Threads that Echo" Exhibition - Text by Marja Bloem

Berend Strik 
Threads that Echo
Hopstreet Gallery, Brussels
4 September - 25 October 2025
Berend Strik gave this rather enigmatic title to his first exhibition at the Hopstreet Gallery, but looking at his work, the meaning becomes clear.

Upon entering the first room, visitors are immediately struck by a large, colourful piece. A Pollock? No, a Strik! In this uninvited collaboration with Pollock, Strik explains his relationship with art history, with the ‘great’ masters – his icons.

The work is composed of photographic images that have been enhanced with textile techniques including threads, appliqués and different types of stitches. This fusion of photography and textiles is a rare combination.  For Strik, who also creates drawings, ceramics and theatre, the choice of photography was based on one of its essential characteristics. “A photograph shows an image of something that once existed, but is no longer physically visible. It does not exist, yet it can be seen in a photographic image. Memories, references, descriptions, suggestions and spatial indications are all part of it.” And the textile work opens that space up. The Pollock piece is part of an ongoing project Strik has been working on for several years, entitled Deciphering the Artist’s Mind, in which he seeks to position himself in relation to art history and reflect on his role as an artist within society.

The Dutch artist Karel Appel, also one of Strik’s icons, is also featured in Deciphering the Artist’s Mind. Appel became notorious for saying “I just mess around a bit.” In reality, Strik discovered, Appel allowed the unconscious to surface, but he knew exactly what he was doing. It is precisely this kind of hidden meaning that Strik seeks to uncover or highlight. To that end, he chose to cover certain areas with velvet (what is being concealed?) and to add all manner of stitches, holes, and fabric fragments. He didn’t work on a photograph of a work by Appel but on a photo of a work that no longer exists because Appel himself painted over it. The original work was concealed under layers of paint, but was revealed through infrared light.

Strik deliberately avoids the word embroidery as he feels it steers the viewer’s thoughts in a particular direction, which is precisely what he wishes to prevent. He wants the viewer to bring their own context to the work, and in doing so, reach something more universal. For Strik, the artist’s studio is above all the place of genesis; the place where a work comes into being.

The series about mothers, presented in another room, also relates to the idea of origin. By concealing some elements and accentuating others, these works exude a subtle, intimate atmosphere that is universally recognisable. Strik aims to evoke a sense of shared memories, a feeling like ‘oh yes, my mother…’ and ‘we all have a mother’.

In Strik’s work, we can see very clearly how it was made; unlike, say, a painting where one can only guess at the suggestions. We can literally see the stitches, how a shape has been cut from fabric and sewn on, how the stitching varies from rough to precise. Sewing is an ancient technique; it’s instantly recognisable to the brain. Human brains are equipped with mirror neurons that associate results with movements: splatters with a mess, a cut with a knife. Sewing is one of those gestures, deeply rooted in our cognitive process, going back to the beginnings of humanity and the earliest human societies. The combination of these two elements, photography and sewing, has a unique effect on the brain. On the one hand, there is the photograph, which feels deeply personal precisely because of its universality. The image is then pierced by the familiar gestures of sewing. In our minds, these elements do not naturally belong together. It’s precisely this sense of the unexpected that compels the viewer to keep searching for meaning.  Strik’s art is an active event: a process of manipulation, transformation, and reinterpretation of images and materials. It plays with revelation and concealment, with the human desire to understand, and the necessity of leaving space for the unknown. Altering photographs with a needle and textiles is a form of dissection and reconstruction.

“As a photographer I capture,” Strik explains, “and as an editor of the image, I liberate it. Only then does the photograph gain value as an autonomous entity with presence in the here and now.”

Marja Bloem, Director of the Egress Foundation

Artist Berend Strik

Berend Strik (born 26 April 1960, Nijmegen) is a Dutch visual artist who lives and works in Amsterdam. He studied at the Rijksakademie van Beeldende Kunsten in Amsterdam from 1985 to 1988. Between 1998 and 2000, he participated in the International Studio & Curatorial Program (ISCP) in New York.

Strik’s work is held in various public collections in The Netherlands, including the Museum Boijmans Van Beuningen, Rotterdam; Fries Museum, Leeuwarden; Kunstmuseum, The Hague; Museum Het Valkhof, Nijmegen; Rijksmuseum Twenthe, Enschede; Stedelijk Museum Schiedam; Stedelijk Museum Amsterdam; Schunck Museum, Heerlen; TextielMuseum, Tilburg; and Museum De Domijnen, Sittard.

His work is also represented in numerous corporate collections, such as Stichting Kunst & Historisch Bezit; ABN AMRO; Achmea Art Collection; AkzoNobel Art Foundation; AMC Art Collection; Bouwfonds Kunstcollectie; Kunstcollectie De Nederlandsche Bank; LUMC Art Collection; Ahold Collection; BPD Art Collection; and the Rabo Art Collection.

His work is currently on display in the group exhibition ‘Things I’ve Never Seen Before’ at the Stedelijk Museum in Amsterdam. It is a selection from the donation made by gallery owner and collector Fons Welters, who donated a series of exceptional works to the museum in 2022. The exhibition runs until 19 October 2025.

HOPSTREET GALLERY BRUSSELS
Sint-Jorisstraat 109 rue Saint Georges, 1050 Brussels 

Reza Aramesh, Nicola Samori, Hugo Wilson @ Nicodim Gallery, New York - "Mondegreens and New Understandings" Exhibition - With Text by Ben Lee Ritchie Handler

Mondegreens and New Understandings
Reza Aramesh, Nicola Samorì, Hugo Wilson
Nicodim Gallery, New York
September 2 – October 4, 2025
In death, in tragedy, in grief, in heartbreak, one’s recollections of the Before Times are often rose-tinted. Hindsight is not always 20-20; the moments before a fall are remembered with a false clarity, a nostalgia for the era prior to the Bad Thing that brought us to our current moment of despair. After the initial shock of the passing of a parent, the planes hitting, the papers being served, memory softens the years before whatever allegorical or literal bomb dropped. We subsequently highlight and reconfigure the way things were into an architecture that befits the narrative we wish to convey, like a eulogy strung together from slightly—sometimes severely—misremembered song lyrics.

Mondegreens and New Understandings is an exhibition of Starbucks lovers wrapped up like a douche while Tony Danza holds us closer in the bond that will bring us together. 

Reza Aramesh, Nicola Samorì, and Hugo Wilson’s respective practices build monuments to the act of tailoring recollections and reminiscences to suit one’s sense of self, in addition to personal and empiric legacies still being written and reconsidered. 

With Bactrian II, Wilson reappropriates a baseline symbol of Britain’s Orientalist duplicity with a rendering of a shaggy camel moulting its wool in a manner that recalls 18th century jewels of the crown like George Stubbs and John Wootten. The Bactrian breed is famously domesticated, but Wilson’s muse is flamboyant, unbridled, and sure-footed as he proudly trots through a greenish negative space that smirks of English school pretense. The camel is isolated, imperfections magnified—no gods, no masters. He’s almost winking at us, asking (and borrowing a mondegreen from Nigel Tufnel), “what’s wrong with being sexy?”

Aramesh’s Action 211, Site of the Fall: Study of the Renaissance Garden, At 12 noon, Monday 15 July 1968 presents a striking male figure carved in marble, either bound and stripped to be tortured, or slowly disrobing in anticipation of carnal fireworks. The work’s title is evasive in its specificity, the artist gives us an event, place, time, and date, inviting the viewer to speculate on the nature of the scene. Is this David in Calvin Klein preparing for la petite mort or the grand one? The artist’s staging of the human body challenges the viewer with questions of vulnerability and agency, but he alone knows the words to his song.

Samorì’s untitled oil-on-wood-with-copper-leaf piece features a man raising his arms above his head and craning his neck toward the heavens. The brushwork, palette, and subject are reminiscent of Caravaggio or Mario Minniti, but the medium itself is poetically deformed by Samorìs hand—he has peeled the figures arms off, exposing reflective copper leaf on its underside, the hanging “flesh” obscuring the subject’s face and torso. His positioning evokes both the ecstasy of a spiritual awakening and the agony of his dismemberment. If the medium is massaged back to wholeness, will the bodies contained within truly be restored?

In dialogue with one another, Aramesh, Samorì, and Wilson forge new pathways in the way we understand and interpret art history inside our present bubble. There are no fixed positions within the wonky salon of Mondegreens and New Understandings, but rather three unique practices which actively engage and manipulate the ever-evolving subjectivity of observing, reinterpreting, and misremembering the world through art and art in the world.

Ben Lee Ritchie Handler

REZA ARAMESH (b. Iran) lives and works between London and New York. He received an MA in Fine Arts from Goldsmiths University, London, in 1997. Aramesh reimagines scenes of global conflict through sculptural reenactments, stripping them of overt signs of war, violence, and historical context. The resulting works are caught between beauty and brutality, and question the representation of the male body in relation to race, class, and sexuality. Exhibitions include Mondegreens and New Understandings: Reza Aramesh, Nicola Samorì, Hugo Wilson, Nicodim, New York (2025, forthcoming); Fragment of the Self, Night Gallery, Los Angeles (2025, solo); Foreigners Everywhere, 60th Venice Biennale, Venice (2024); Asia Society Triennial: We Do Not Dream Alone, Asia Society Museum, New York (2021); 12 noon, Monday 5 August, Asia Society Museum, New York (2019, solo); Action 180, Leila Heller Gallery, New York (2019, solo); Like Life: Sculpture, Color and the Body (1300–Now), The Met Breuer, New York (2018); Sculpture in the City, London (2021); Frieze Sculpture Park, London (2017); Art Basel Parcours, Basel (2017); At 11:57 am Wednesday 23 October 2013, Ab-Anbar Gallery, Tehran (2016, solo); and The Great Game, 56th Venice Biennale, Iran Pavilion, Venice (2015). His works have been staged in performative contexts at institutions such as the Barbican Centre, Tate Britain, and ICA, London. Aramesh’s practice is held in numerous public and private collections worldwide, including the Tate, UK; MOCAK, Poland; Rodin Museum; Versaille Palace Collection; Hugo Voeten Foundation; and the Zabludowicz Collection.

NICOLA SAMORI (b. 1977, Forlì, Italy) lives and works in Bagnacavallo, Italy. His work was included as a part of the Italian Pavilion at the 2015 Venice Biennale. Exhibitions include Mondegreens and New Understandings: Reza Aramesh, Nicola Samorì, Hugo Wilson, Nicodim, New York (2025, forthcoming); La bocca di Berlino, Galerie EIGEN+ART, Berlin (2025, solo); The Ballad of the Children of the Czar, Galeria Nicodim, Bucharest (2024); KAFKAesque, DOX Centre for Contemporary Art, Prague (2024); Blend the Blind, Nicodim, New York (2024, solo); DISEMBODIED, Nicodim, Los Angeles (2024); Luce e sangue, Duomo di Napoli, Neapel (2023, solo); Luce e sangue, Chiesa di Santa Lucia alla Badia, Syrakus (2023, solo); Medea, Antico Mercato, Syracuse (2023); Joshua Hagler, Devin B. Johnson, Nicola Samorì, Hugo Wilson, Nicodim, Los Angeles (2023); DISEMBODIED, Nicodim, New York (2023); Le Ossa della Madre, Villa d’Este, Tivoli (2022, solo); On the Wall, Building Gallery, Milan (2022); MONO, Galerie EIGEN+ART, Lipsia (2022, solo); Sfregi, Palazzo Fava, Bologna (2021, solo); ROMA (Manuale della mollezza e la tecnica dell’eclisse), Monitor Gallery, Rome (2021, solo); Danae Revisited, Fondazione Francesco Fabbri, Pieve di Soligo (2021); 141 – Un secolo di disegno in Italia, Fondazione del Monte, Bologna (2021); Black Square, Fondazione Made in Cloister e Museo Archeologico Nazionale, Naples (2020, solo); In abisso, Galerie EIGEN + ART, Berlin (2020, solo); Lucìe, MART- Museo d’Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto (2020, solo); Stand 1D08, Galerie EIGEN + ART, Berlin (2020); Collective Care: A House with Many Guests, M WOODS, Chaoyang, Beijing (2020); Cannibal Trail, Yu-Hsiu Museum of Art, Caotun (2019, solo); Solstizio d’Inferno, Biblioteca Classense, Ravenna (2019, solo); Metafysica, Haugar Vestfold Kunstmuseum, Tønsberg (2019); Preparing for Darkness – Vol. 3: I’m Not There, Kühlhaus, Berlin (2019); Iscariotes: Matteo Fato/Nicola Samorì, Casa Testori, Milan (2018, solo); Malafonte, Galerie EIGEN + ART, Berlin (2018, solo); BILD MACHT RELIGION: Kunst zwischen Verehrung, Verbot und Vernichtung, Kunstmuseum, Bochum (2018); Begotten, Not Made, Ana Cristea Gallery, New York (2014, solo); The Venerable Abject, Ana Cristea Gallery, New York (2012).

HUGO WILSON (b. 1982, United Kingdom) lives and works in London. His work has been exhibited at the The National Museum, Stockholm, Busan Metropoli­tan Art Museum, the National Por­trait Gallery, and the Courtauld Institute of Art in London. Wilson is collected by the New York Pub­lic Library, the Deutsche Bank Col­lec­tion, the Janet de Bot­ton Col­lec­tion, the United States Library of Congress and many others. Exhibitions include Mondegreens and New Understandings: Reza Aramesh, Nicola Samorì, Hugo Wilson, Nicodim, New York (2025, forthcoming); The Raft, Galerie Judin, Berlin (2024, solo); SIRANI, Galerie Judin, Berlin (2023); Whatever Gets You Thru the Night, Nicodim, New York (2023, solo); Joshua Hagler, Devin B. Johnson, Nicola Samorì, Hugo Wilson, Nicodim, Los Angeles (2023); Carnal Agreement, Nicodim, Los Angeles (2022, solo); Hollow Moon, Nicodim, New York (2021); Hugo Wilson, Parafin, London (2020, solo); Coincidental Truths, Galerie Judin, Berlin (2020, solo); When You Waked Up the Buffalo, Nicodim, Los Angeles (2020); Iconic Works, The National Museum, Stockholm (2020); Ateneum Art Museum, Finnish National Museum, Helsinki (2020); Crucible, Galerie Isa, Mumbai (2019, solo); Skin Stealers, Nicodim, Los Angeles (2019); Hugo Wilson, Nicodim, Los Angeles (2018, solo); Dialogues / New Paintings from London, GASK, Kutná Hora Museum, Czech Republic (2018); Frieze Sculpture Park, Regent’s Park, London (2018).

NICODIM GALLERY 
15 Greene Street, New York, NY 10013

28/08/25

Elmgreen & Dragset @ Pace Gallery, Los Angeles - "The Alice in Wonderland Syndrome" Exhibition

Elmgreen & Dragset
The Alice in Wonderland Syndrome
Pace Gallery, Los Angeles
September 13 – October 25, 2025

Pace presents The Alice in Wonderland Syndrome, Elmgreen & Dragset’s first solo exhibition in Los Angeles—and their fourth with the gallery. This immersive two-part presentation will occupy the main exhibition space and the adjacent south gallery, exploring themes of scale, perception, and psychological distortion through enactments of doubling and resizing. The show follows Elmgreen & Dragset’s recent solo presentations at the Musée d’Orsay in Paris and the Amorepacific Museum of Art in Seoul, and it coincides with the artists’ thirtieth anniversary of working as a duo and the twentieth anniversary of their famed "Prada Marfa" installation, which was unveiled in Texas in 2005.

Renowned for their subversive sculptural interventions, Berlin-based artists Elmgreen & Dragset often examine questions of identity and belonging in their collaborative practice, and they are particularly interested in radical recontextualizations of objects and new modes of representation in sculpture and large-scale installation.

In The Alice in Wonderland Syndrome, the artists explore how scale influences our understanding of reality. For this presentation, the duo plays with the physical features of Pace’s Los Angeles gallery, using the architectural division of the gallery as a framework for doubling and resizing. Each artwork is presented in full scale in the main gallery, while exact half-size versions are shown in the adjoining space, which the artists have rescaled into a half-size replica of the main space. This spatial reduplication and resizing is inspired by the neurological condition called Alice in Wonderland Syndrome, or Dysmetropsia, in which shifts in perception, often triggered by fatigue, alter one’s experiences of distance and scale.

The first work that visitors will encounter in the exhibition is a hyper realistic sculpture of a female gallery assistant slumped over the reception desk, seemingly asleep. The surreal presentation that follows in the exhibition spaces, where objects appear out of scale, could be a vision or dream playing out in her mind, in which visitors are the protagonists.

The main gallery space will feature new sculptural works and wall pieces—works from the duo’s Sky Target series—that probe the boundaries of the real and the reflected, the seen and the sensed. In their circular Sky Target paintings, fragments of clouds drifting across blue skies are rendered on mirror polished stainless steel disks. The skies are partially obscured by reflective surfaces, allowing viewers to glimpse themselves within illusory “heavens.” Each Sky Target is named after a specific location that the artists have visited. Two circular wall works, which the artists refer to as “stripe paintings,” will also be on view. In these works, vertical bands revealing airplanes and their contrails in the sky alternate with equally sized bands of mirrored strips, creating a rhythm of image and reflection. The tension between transparency and opacity, and representation and self-awareness, is heightened by the viewer’s shifting position within the space.

Two figurative sculptures carved in marble will be presented on the floor of both the main and adjacent galleries. One of these works depicts two young men, both wearing VR goggles, embracing—physically close but mentally elsewhere. The other shows a young man seated with headphones, absorbed in his own auditory reality. These figures embody the contemporary condition of disconnection, amplified by digital mediation. The immateriality of the digital experiences represented in both works is contrasted with their medium, marble, a historically significant and physically durable material that is deeply rooted in the tradition of sculpture.

The Alice in Wonderland Syndrome invites visitors into a mise en abyme of visual and spatial contradictions. While much of our reality has been compressed into the format of an iPhone screen, Elmgreen & Dragset continue their investigations into how physical environments shape our sense of self and how bodily presence still plays an important role in the way we interact with our surroundings.

ARTIST DUO ELMGREEN & DRAGSET

Elmgreen & Dragset (Michael Elmgreen, b. 1961, Copenhagen, Denmark; Ingar Dragset, b. 1969, Trondheim, Norway) pursue questions of identity and belonging and investigate social, cultural, and political structures in their artistic practice. They are interested in the discourse that can ensue when objects are radically re-contextualized and traditional modes for the representation of art are altered. Michael Elmgreen and Ingar Dragset are based in Berlin and have worked together as an artist duo since 1995. They have presented numerous solo exhibitions at prominent institutions worldwide including Kunsthalle Zürich (2001); Tate Modern, London (2004); Serpentine Gallery, London (2006); Museo de Arte Contemporáneo de Castilla y León, Spain (2009); ZKM - Museum of Contemporary Art, Karlsruhe, Germany (2010); Museum Boijmans van Beuningen, Rotterdam (2011); Victoria and Albert Museum, London (2013–14); Leeum, Samsung Museum of Art, Seoul (2015); UCCA Center for Contemporary Art, Beijing (2016); Tel Aviv Museum of Art, Israel (2016); Whitechapel Art Gallery, London (2018–19); Nasher Sculpture Center, Dallas, Texas (2019–2020); Fondazione Prada, Milan (2022); and Centre Pompidou-Metz, France (2023–24). In 2009, they represented both the Nordic and the Danish Pavilions at the 53rd Venice Biennale. They are renowned for large-scale public installations including Short Cut (2003), an installation comprising a Fiat Uno and a camper trailer, which appear to emerge from the ground; Prada Marfa (2005), a full-scale replica of a Prada boutique installed along U.S. Route 90 in Valentine, Texas; and Van Gogh’s Ear (2016), a gigantic vertical swimming pool placed in front of Rockefeller Center in New York City.

Their work is held in public collections worldwide, including ARKEN Museum of Contemporary Art, Ishøj, Denmark; Art Production Fund, New York; Columbus Museum of Art, Ohio; Museo Jumex, Mexico City; Hamburger Bahnhof, Nationalgalerie der Gegenwart, Berlin; Kistefos Museet, Jevnaker, Norway; Leeum, Samsung Museum of Art, Seoul; Louisiana Museum of Modern Art, Humlebæk, Denmark; Moderna Museet, Stockholm; and the Museum of Contemporary Art Chicago, among others.

PACE LOS ANGELES
1201 South La Brea Avenue, Los Angeles

Harri Koskinen @ Galerie Forsblom, Helsinki - "Magnitude" Exhibition

Harri Koskinen: Magnitude
Galerie Forsblom, Helsinki 
August 22 – September 21, 2025
 
Harri Koskinen one of Finland’s most renowned designers, presents a new exhibition shaped by compelling, multi-layered themes that navigate borderlands between the mythical and the contemporary. Elements subtly reminiscent of survival gear suggest preparation for an uncertain future, serving as a quiet reminder of today’s volatile global climate. At the same time, the exhibition drifts into the realm of myth and adventure. Rather than creating ominous imagery, Harri Koskinen explores the delicate tension between the material form and conceptual depth of his work.

The exhibition presents a selection of unique glass sculptures, both free-blown and mold-cast. Glass, with its reactive sensitivity, naturally lends itself to the creation of multi-layered forms. As a material born from the transformation of sand through intense heat, then cooled into solid form, glass inherently embodies shifting states of matter. Koskinen’s minimalist visual vocabulary resonates beautifully with the fragility of his medium. Most of the featured sculptures were handcrafted at the historic glassworks in Iittala and Riihimäki, with select pieces produced in Switzerland. This marks Koskinen’s fifth solo exhibition at Galerie Forsblom.

HARRI KOSKINEN (b. 1970), is a highly versatile designer known for his conceptual approach. His practice spans both serial production and one-offs. Over the course of his distinguished career, he has served as design director at Iittala and collaborated with prestigious international brands including Artek, Genelec, Hermès, Issey Miyake, Muu, and Svenskt Tenn. Among his many accolades are the Torsten and Wanja Söderberg Prize, the Compasso d’Oro Award, and the Pro Finlandia Medal. Harri Koskinen lives and works in Espoo and Helsinki.

GALERIE FORSBLOM
Yrjönkatu 22, 00120 Helsinki

27/08/25

Grandma Moses: A Good Day’s Work @ Smithsonian American Art Museum, Washington + Other Venues

Grandma Moses: A Good Day’s Work
Smithsonian American Art Museum, Washington 
October 24, 2025 - July 12, 2026

Grandma Moses
Grandma Moses 
We Are Resting, 1951 
Oil on high-density fiberboard 
Smithsonian American Art Museum, 
Gift of the Kallir Family, in Memory of Hildegard Bachert, 2019.55, 
© Grandma Moses Properties Co., NY

"Grandma Moses: A Good Day’s Work" repositions Anna Mary Robertson “Grandma” Moses (1860–1961) as a multidimensional force in American art, whose beloved painted recollections of rural life earned her a distinctive place in the cultural imagination of the postwar era. Drawing its name from Moses’ reflection on her own life as a “good day’s work,” the exhibition reveals how Moses’ art fused creativity, labor and memories from a century-long life. 

“Grandma Moses: A Good Day’s Work” is anchored by artworks from the Smithsonian American Art Museum’s collection, including many of Moses’ most celebrated paintings. The 88 works in the exhibition are drawn from the museum’s holdings and loans from private collections and public museums and institutions. This selection of objects, primarily created between the late 1930s and the artist’s death in 1961, are woven into a narrative that explores lesser-known aspects of Moses’ life, including the years she spent living, working and raising her family in post-Reconstruction Virginia. Later sections of the exhibition probe Moses’ artistic evolution as the labor of artmaking displaced the hours once dedicated to family and farming, and her personal transformation from farmwife to famous artist in Cold War America. Photographs, ephemeral objects and Moses’ own words—drawn largely from her autobiography—illuminate artworks that were deeply connected to the artist’s life.

The exhibition is organized by Leslie Umberger, senior curator of folk and self-taught art, and Randall Griffey, head curator, with support from curatorial assistant Maria R. Eipert. The exhibition will travel following its premiere in Washington, D.C.
“Grandma Moses was instrumental in bringing self-taught art to the forefront of American consciousness,” said Jane Carpenter-Rock, Acting Margaret and Terry Stent Director of the Smithsonian American Art Museum. “As one of the first major museums to champion and collect works in this tradition, our museum is honored to shed new light on Grandma Moses’ practice and engage new generations by becoming a major resource for studying her art and legacy.”

“Moses was many things to many people: she was an ambassador for democratic American values, a folk hero and pop-culture celebrity, a comforting grandmotherly figure representing a bygone age, an inspiring elder reinventing herself in retirement and an untrained artist presenting what was then considered ‘modern primitivism’ as a surprisingly successful alternative to abstract art,” Leslie Umberger said. “‘A Good Day’s Work’ reconciles these disparate truths while centering on Moses’ art and the life that inspired it—one shaped by ingenuity, labor, a doggedly positive outlook and a distilled understanding of a life well lived.” 
In a lifetime that spanned the presidencies of Abraham Lincoln and John F. Kennedy, the artist experienced seismic historical shifts, including the post-Reconstruction and civil rights eras and two world wars. She began painting in earnest in her late 70s and was 80 when gallerist Otto Kallir introduced her to the American public with her first solo exhibition. In her artworks, Moses melded direct observation of nature and life as she saw it, resulting in idiosyncratic, yet engaging, stories of America. “Grandma Moses” as the press would indelibly dub her, quickly became a media sensation, achieving a controversial celebrity status that surpassed the female artists of her day and remains compelling today.

Through a series of gifts and pledges of 15 important paintings from Kallir’s family, along with gifts from several additional donors and select museum purchases, the museum is establishing a destination-collection of 33 works by Moses, balanced across styles, dates, themes and historical moments. A major asset within the museum’s internationally recognized collection of work by folk and self-taught artists, the Moses collection will comprise significant works, from her earliest extant painting, “Untitled (Fireboard)” (1918), to iconic pieces including “Bringing in the Maple Sugar” (1939), “Black Horses” (1942) and “Out for Christmas Trees” (1946), to her last completed painting, “The Rainbow” (1961), all of which are represented in the exhibition. Also on view will be the first painting donated to the museum by the Kallir family in 2016, “Grandma Moses Goes to the Big City” (1946), a rare work in which Moses includes herself in the depicted narrative. The museum will be a premier Moses repository for scholars and the public.

Artist Grandma Moses

Anna Mary Robertson Moses was born in Greenwich, New York, in 1860 and raised on a farm. From early in her life, she worked as a hired girl, helping neighbors and relatives with cleaning, cooking and sewing. As a child, her father had encouraged her to draw on old newsprint, and she used berry and grape juices to color her images.  

Robertson married at 27 and moved, with her new husband, Thomas Salmon Moses, to Virginia’s Shenandoah Valley. There, over the course of the next 18 years, the couple raised five children and worked as dairy farmers, shaping a highly successful butter-making business. Moses did not start painting until she was in her late 70s, after her children had moved on and her husband had died, looking for something, as she put it, with which “to keep busy and out of mischief.” She made paintings that merged fact with fiction and personal with national history, drawing on her own memories as well as family and local lore. She began her foray into the limelight by presenting her pictures at country fairs, alongside her prize-winning fruit preserves.  

In 1938, a collector saw her paintings in the window of a local pharmacy and bought them all. Two years later, Kallir—an art dealer and recent immigrant who had fled the Nazi regime in his native Austria—gave Moses her first solo exhibition. In the aftermath of World War II, Moses was seen as a global ambassador for democratic American values, and her unpretentious sensibilities and the scenes of family life and holidays enchanted a populace weary from conflict and rapid change. Following a press event and presentation of her paintings at Gimbels department store, the media dubbed her “Grandma Moses.” Gradually, ‘Grandma Moses’ became a household name. In 1947, Hallmark licensed the rights to reproduce her paintings on greeting cards. Reproductions on drapery fabric, china and other consumer goods followed, along with magazine features, television and radio interviews and an Academy Award-nominated documentary. Moses died at 101 in 1961, after painting more than 1,500 images.  

Publication: A richly illustrated catalog, published in association with Princeton University Press, will accompany the exhibition. It is co-edited by Umberger and Griffey, with a foreword by Carpenter-Rock and contributions by Erika Doss, Eleanor Jones Harvey, Stacy C. Hollander, Jane Kallir and Katherine Jentleson. The book will be available for purchase ($60) in the museum’s store and online.

SMITHSONIAN AMERICAN ART MUSEUM
8th and G Streets, NW, Washington, DC 20004
americanart.si.edu