Lee Friedlander: Christmas @ Deborah Bell Photographs, New York - Exhibition + Book published by the Eakins Press Foundation

Lee Friedlander: Christmas

Deborah Bell Photographs, New York

November 6, 2025 - January 10, 2026

Deborah Bell Photographs presents Lee Friedlander: Christmas, an exhibition of photographs by Lee Friedlander dating from 1958 to 2015, in collaboration with Fraenkel Gallery, San Francisco and Luhring Augustine, New York. 

This exhibition also celebrates the release of Friedlander's most recent book, LEE FRIEDLANDER: CHRISTMAS, published by the Eakins Press Foundation, New York. Although many of the photographs on view are well known from their inclusion in Friedlander's previous books and numerous exhibition catalogues, and have appeared on the walls of museum and gallery exhibitions internationally, this publication features Friedlander's personal edit of photographs related to the theme of Christmas. As indicated by the Eakins Press Foundation, the book presents 106 beautifully reproduced photographs that span the artist's life, cover most of the United States, and give us a sweeping view of American culture by this renowned photographer of the social landscape. The exhibition features some 30 photographs selected from the book.

Lee Friedlander: Christmas

Afterword by Peter Kayafas

Eakins Press Foundation, 2025

Clth, 11.75 x 12.5 in. / 112 pgs / 106 b&w / 106 tritone

ISBN 9780871301055

Cover Photograph: Lee Friedlander (American, b. 1934)  

San Angelo, Texas, 1997  

Gelatin silver print  sheet 20 x 16'“ (50.8 x 40.6 cm)  

© Lee Friedlander, Courtesy Fraenkel Gallery, San Francisco 

and Luhring Augustine, New York

Peter Kayafas, Director and President of Eakins Press Foundation, writes in the Afterword to the sumptuously illustrated book:

Whether or not you've celebrated Christmas at any point over the past seventy years--roughly the period covered by these photographs--you have no doubt encountered some of the things Friedlander shows us here....Is Christmas in America a religious holiday? A commercial precept? An ironic commentary? A misunderstanding? An indulgent blasphemy? All or none of the above? In these pictures, the only thing certain is that Christmas has provided an opportunity for the people's photographer to hold up a mirror--and make no mistake, it is Friedlander's mirror--to a diverse, flawed, inventive, preoccupied, and spectacular society.

DEBORAH BELL PHOTOGRAPHS

526 West 26th Street, New York, NY 10001

www.deborahbellphotographs.com

Related Post:

Lee Friedlander: MARIA

Deborah Bell Photographs, New York , November 1, 2018 – January 19, 2019 

Lucy Williams: Radiant City Exhibition @ Berggruen Gallery, San Francisco + Book

Lucy Williams

Radiant City

Berggruen Gallery, San Francisco

November 6, 2025 – January 8, 2026

Berggruen Gallery presents Radiant City, an exhibition of new work by London-based artist LUCY WILLIAMS. This exhibition will mark the gallery’s third solo presentation with the artist

Williams’s works are fastidiously engineered to produce uncanny miniature worlds suspended between the second and third dimensions—facades that are simultaneously industrial and tactile. Drawing on modernist buildings and interiors, Lucy Williams redefines collage through intricately crafted mixed-media bas-reliefs. Her sleek, serene scenes of period architecture ripple with texture and aqueous reflections. She simulates the tiled surfaces of swimming pools, the austere facades of Brutalist buildings, and the regimented rows of libraries and bookcases. Painstakingly hand-crafted, Lucy Williams constructs her works in ascending layers of varying materials such as paper, Plexiglas, wood veneer, fabric, piano wire, and thread.

Beginning with a full-scale pencil drawing, Lucy Williams creates a digital copy from which she laser cuts the structural base and hand-cuts colored paper to form curtains, blinds, books, vases, pots, and lampshades. Each piece is laid on top of the drawing until she is ready to collage within a shallow space, adding paper home furnishings as she builds the work. Panels are over-stitched with thread, and a Perspex layer is used to replicate the windows, all of which have been etched and hand-painted to add further detail. Of her process, she says: “You have to give it as much time as possible, it’s really important, because in time is the transformation.”

Through embroidery and a warm tonal palette, Williams’s work exploits the tension between the humane, intimate spaces she produces and the hard-edge geometric buildings she references. The perceived depth and inherent flatness of the work occupy the liminal space between painting and sculpture. “Her work resonates with the textures and geometries of Anni Albers and Jean Arp, Alexander Calder and Ruth Asawa—not just in their forms, but in the energy, dedication, and intentionality they brought to their work,” said Joseph Becker, Curator of Architecture and Design at the San Francisco Museum of Modern Art.

The exhibition title Radiant City comes from Le Corbusier's unrealized architectural proposal for a utopian megalopolis that would seamlessly integrate humankind with nature and the technological innovations of the twentieth century. The concrete apartments—composed of modular units, imposing towers, and symmetry—were conceived to address urgent housing needs and to use modern architecture as a tool for societal reform. While Radiant City itself was never realized, its principles came to life in the Unité d’Habitation in Marseille. The patchwork play of color and light across the façade of what might otherwise have been a monotonous expanse resulted in one of modern architecture's most iconic designs. In Radiant City, Lucy Williams captures the delicate balance of materiality, shape, and color that made Unité d’Habitation so visually resonant. She does this through multiple iterations, probing the tension between social egalitarianism and a dehumanizing uniformity.

Radiant City features both representational and abstract works by Lucy Williams. During the pandemic, she began experimenting with non-representational compositions to explore the rhythmic, repetitive visual qualities of form. This experimentation allowed her to develop new threading techniques, which she then brought into her representational works, along with miniature versions of the abstractions themselves. “Slate, aubergine and rose triangles float over vertical threads of different colours and thicknesses, adding a lyrical stringed element to the already dynamic forms. In these, Lucy Williams controls space like the modernists Naum Gabo and Barbara Hepworth before her,” said art critic Charlotte Mullins. Though the figure never appears in her work, one need only view it in person to experience the narrative power of her spaces—how they draw the viewer in, both baffled by their fabrication and longing to occupy their meditative worlds.

Lucy Williams was born in Oxford, England, in 1972. She earned her Bachelor of Arts in Fine Art from Glasgow School of Art in 1996 and her Postgraduate Diploma in Fine Art from Royal Academy Schools in 2003. The artist has since exhibited her work internationally, with solo shows including Pavilion at Timothy Taylor Gallery, London (2012), Festival at McKee Gallery, New York (2014) and Pools at Berggruen Gallery, San Francisco (2017). Lucy Williams’s work has also been represented in major group exhibitions, such as Painting the Glass House: Artists Revisit Modern Architecture at The Aldrich Contemporary Art Museum, Connecticut (2008), After curated by Marjolaine Levy at Galerie Mitterand, Paris (2013), and Cut & Paste | 400 Years of Collage at the National Galleries of Scotland, Edinburgh (2019). Lucy Williams currently lives and works in London.

Lucy Williams – Radiant City

By Lucy Williams

Contributions by Ben Street, Salena Barry, Kathryn Lloyd 

and Charlotte Mullins / Edited by Matt Price / 

Foreword by Joseph Becker

Published by Hurtwood Press Ltd 

Distributed by Simon & Schuster

Book Cover courtesy of  Simon & Schuster

264 pages featuring 160 illustrations (colour and black & white)

Hardback, 290 x 245 mm portrait

Available at Berggruen Gallery or on its Website

The exhibition coincides with Lucy Williams’s new publication, Radiant City. The gallery will host an artist discussion, moderated by Joseph Becker, Curator of Architecture and Design at SFMOMA, and a book release event at 4:30 p.m. on Thursday, November 6, 2025, followed by an opening reception from 5 to 7 p.m. 

BERGGRUEN GALLERY

10 Hawthorne Street, San Francisco, CA 94105

www.berggruen.com

Domenico Zindato @ Andrew Edlin Gallery, NYC - 'On the Dotted Line' Exhibition + A Book offering the most comprehensive view of his recent work to date

Domenico Zindato: On the Dotted Line

Andrew Edlin Gallery, New York

November 7 – December 20, 2025

Andrew Edlin Gallery present On the Dotted Line, an exhibition of recent paintings by Domenico Zindato—his fifth with the gallery and the first solo presentation in our new space in Tribeca. A hardcover publication dedicated to the artist accompanies the exhibition, offering the most comprehensive view of his recent work to date. A Kabinett presentation of Zindato’s work will be held at Art Basel Miami Beach (December 5–8).

Domenico Zindato: On the Dotted Line

Published by Andrew Edlin Gallery, 2025

Book Cover courtesy of Andrew Edlin Gallery

The accompanying monograph provides critical context for the exhibition with an essay by Julián Gómez Sánchez, a conversation between Zindato and Gallery Director Aurélie Bernard Wortsman, more than 30 full-color plates, and archival materials that reveal the artist’s influences and process. As a lasting record of this pivotal moment in his career, the book underscores Zindato’s shift from drawing to painting and places his work within a broader Latin American arthistorical and cultural framework.

Domenico Zindato (b. 1966, Reggio Calabria, Italy) is known for his intricate, trance-like compositions rooted in ritual, intuition, and meditative mark-making. For decades, he concentrated on detailed drawings in ink and pastel on paper, producing labyrinthine works that tread between the ecstatic and the contemplative. In this new body of work, he expands into painting on both canvas and dried leaves. Although he first experimented with canvas in the 1980s, Domenico Zindato did not return to the medium until 2020, this time working with acrylic paints and Flashe—a process he likens to acupuncture: “where the skin is activated by needles—I use my fingers to touch the blank canvas, delineating lines and shapes that I intuitively develop.” This tactile method has been central to his work since the early 1990s, when, while in Paris, he received a box of soft pastels from the legendary Sennelier store. Rubbing pigment directly with his fingers became a formative gesture—bridging body and surface, energy and image.

Based in Mexico since the late 1990s, Domenico Zindato draws deeply from the country’s visual culture: the radiant hues of Oaxacan textiles, the geometric patterns of Zapotec temples, and the visionary palette of Huichol yarn paintings and beadwork. These influences intertwine with his own experiences with peyote and the vivid inner imagery inspired by its use. His small paintings on dried leaves, collected from his surroundings, evince a reverence for nature imbued with fragility and impermanence—these intimate works seem to breathe with life. Across both large canvases and delicate leaves, Zindato’s compositions pulse with organic patterning, recurring symbols, and motifs that stretch beyond the frame, evoking mythological cycles and the interconnectedness of ecosystems.

A highlight of the exhibition, …..each one its special radiance….., is a large-scale painting that incorporates an excerpt from Marcel Proust’s Time Regained. Handwritten in Zindato’s signature cursive script, the words—“Instead of seeing one world only, we see that world multiply itself, and we have many worlds, each one with its special radiance”—undulate across a dense, foliage-like ground. The phrase resonates as both a reflection on perception and a metaphor for Zindato’s art: a vision of worlds multiplying, expanding, and connecting. 

Scholar Julián Gómez Sánchez places his visual language within a broader continuum of Latin American artists engaged with themes of transcendence and interconnectedness, drawing a parallel with Shipibo-Conibo artist Sara Flores, whose kené designs embody flora, fauna, and spiritual realms. Zindato’s work, too, emerges as a meditation on the unseen threads that bind us—to one another, to the natural world, and to the sacred.

Discovered in the 1990s by the maverick art dealer Phyllis Kind (1933-2018), Domenico Zindato has been represented by Andrew Edlin Gallery since 2009. His work has been featured in major exhibitions including As Essential as Dreams: Self-Taught Art from the Collection of Stephanie and John Smither at The Menil Collection (2016) and The Hidden Art: Twentieth and Twenty-First Century Self-Taught Artists from the Audrey B. Heckler Collection, co-published by Rizzoli and the American Folk Art Museum (2017). A previous gallery publication, Domenico Zindato: Recent Drawings (2013), includes an essay by critic Edward M. Gómez. His works are held in the permanent collections of the American Folk Art Museum (New York), The Menil Collection (Houston), the Philadelphia Museum of Art, the Milwaukee Art Museum, the North Dakota Museum of Art, and the Whitworth Gallery (Manchester, UK).

ANDREW EDLIN GALLERY 

392 Broadway, New York, NY 10013

www.edlingallery.com

Adam Pendleton @ Pace Gallery, Berlin - "spray light layer emerge" Exhibition

Adam Pendleton

spray light layer emerge

Pace Gallery, Berlin

September 11 - November 2, 2025

Adam Pendleton

Black Dada (D), 2025

© Adam Pendleton, courtesy of Pace Gallery

Pace presents spray light layer emerge, an intimate selection of paintings and works on paper from Adam Pendleton’s Black Dada and Untitled (Days) bodies of work, presented across both floors of Die Tankstelle, the gallery’s new space in Berlin. The exhibition’s title, spray light layer emerge, reflects the various “acts” played out in the Black Dada paintings: materially, theoretically, poetically, and ultimately, visually.

A central figure in contemporary American painting, Adam Pendleton is known for continuously redefining the medium as it relates to process and abstraction. His paintings begin on paper by exploring the full breadth of mark-making. He layers paint, spray paint, ink, and watercolor, while integrating fragmentary text and geometric forms, often using stenciling techniques. These works on paper are photographed and then combined through a screen-printing process. Blurring distinctions between painting, drawing, and photography, the resulting paintings are tangible manifestations of his belief in painting as a powerful “visual and conceptual force.”

Pendleton’s Black Dada paintings, shown on the first floor, are conceptually rich and subtly expressionistic: thought-acts suspended in mid-flight, the ghost of an urban scrawl, the impression of dispersed and diffused light. Composed as diptychs on black-gessoed grounds, they direct attention to the fundamental attributes of painting—surface, edge, figure, ground—and to the artist’s unique approach to compositional logic and visual thought. Each painting features one or two hard-edged letters from the phrase BLACK DADA, which function as a “figure” within each composition. BLACK DADA refers to Pendleton’s ongoing exploration of conceptions of Blackness and abstraction. These textual characters hang, rest, or hover within the visual field—where drips, sprays, splatters, and other gestures play against an invisible grid set by the symmetry of the diptychs. By foregrounding the modes and methods of composition, Pendleton’s Black Dada works invite viewers to engage with and question the formal, conceptual, and material possibilities of painting itself. 

Adam Pendleton is currently the subject of a major exhibition at the Smithsonian’s Hirshhorn Museum and Sculpture Garden in Washington, DC. Adam Pendleton: Love, Queen—his first solo exhibition in the city—runs from April 4, 2025, through January 3, 2027, and features new and recent paintings alongside a single-channel video. The exhibition highlights Pendleton’s singular contributions to contemporary American painting and engages with both the architecture of the museum and the historical context of the National Mall. In April 2026, Adam Pendleton will also present a solo exhibition at the Langen Foundation in Neuss, Germany. 

This May, the Museum of Modern Art in New York announced its acquisition of all 35 works from Pendleton’s Who Is Queen? exhibition (2021–2022). This landmark acquisition includes paintings and drawings from the Black Dada and WE ARE NOT bodies of work, as well as three video works: Notes on Resurrection City, Notes on the Robert E. Lee Monument, Richmond VA (figure), and So We Moved: A Portrait of Jack Halberstam. 

Adam Pendleton: An Abstraction

Pace Publishing, 2025

Text by Marc Glimcher

Hardcover, 160 pages, 11 ¾ × 9 ½ in.

Image courtesy of Pace

Pace published Adam Pendleton: An Abstraction. Both a document and evolution of Pendleton’s first solo exhibition at Pace New York in a decade, the volume features a new text by Marc Glimcher.

PACE GALLERY BERLIN

Die Tankstelle, Bülowstrasse 18, 10783 Berlin

www.pacegallery.com

Related Posts:

Adam Pendleton: Love, Queen

Hirshhorn Museum and Sculpture Garden, Washington DC

April 4, 2025 - January 3, 2027

Adam Pendleton: An Abstraction 

Pace Gallery, New York, May 3 – August 16, 2024

David Adjaye / Adam Pendleton

Pace Gallery, Hong Kong, May 18 – Junu 30, 2021

Frank Kunert, Photography & Miniatures: The Best of - About the book The Best of Frank Kunert, Published by Hatje Cantz

The Best of Frank Kunert

Published by Hatje Cantz

June 2025

The Best of Frank Kunert, Hatje Cantz, 2025

Text: Ariadne von Schirach

Image courtesy Hatje Cantz

Frank Kunert 

Souterrain, 2015 

Image courtesy Hatje Cantz

Frank Kunert 

Attic Flat, 2007

Image courtesy Hatje Cantz

Frank Kunert 

Field Office, 2010

Image courtesy Hatje Cantz

As the title suggests, this book presents the best photographs of Frank Kunert. The choice must have been difficult! These photographs are taken from three books previously published by Hatje Cantz. 

The German photographer FRANK KUNERT (b. 1963) has made a name for himself in the contemporary art scene thanks to a universe that is both quirky and meticulously crafted. Far from documentary realism or traditional portraiture, Frank Kunert creates miniature surreal models, which he photographs with painstaking precision. Each image is the result of a long manual process, blending dark humor, irony, and absurd poetry.

Frank Kunert

Event Restaurant, 2005

Image courtesy Hatje Cantz

Frank Kunert

Salvation, 2009

Image courtesy Hatje Cantz

...When a church becomes a parking lot...

Frank Kunert

Drive-In, 2012

Image courtesy Hatje Cantz

Frank Kunert

Golden Goal, 2003

Image courtesy Hatje Cantz

Frank Kunert 

A Place in the Sun, 2014

Image courtesy Hatje Cantz

The scenes he stages are at once familiar and unsettling. A hotel room with a ski slope as an emergency exit, a balcony facing a brick wall, or a dinner table perched high above a living room on stilts—Kunert’s world defies all logic. He cultivates a distinctly German sense of nonsense, where the banality of everyday life collides with architectural absurdities or surreal situations. This offbeat perspective subtly questions social norms, urban anxieties, and the absurdity of certain conventions.

Frank Kunert 

Auf hohem Niveau, 2008

Image courtesy Hatje Cantz

The previous photograph, both restrained in form and disconcerting in content, encapsulates Kunert’s unique aesthetic, composed of visual paradoxes, understated irony, and a subtle poetics of the absurd. By diverting a commonplace architectural element such as a staircase from its intended purpose, he invites reflection on the relationship between cultural institutions and their audiences. The museum—ostensibly a space of openness and cultural exchange—appears here as an inaccessible fortress, deftly alluding to common critiques of the contemporary art world: elitism, insularity, opacity, and a certain detachment from everyday life.

Frank Kunert

Live Broadcast, 2012

Image courtesy Hatje Cantz

In Live Broadcast the television is physically connected to the toilet bowl, as if drawing its content directly from it. True to Kunert’s style, this photograph combines precise craftsmanship with a sharp sense of irony. It playfully critiques the quality—or perhaps the emptiness and vulgarity—of modern media consumption. By creating a literal pipeline between waste and entertainment, Frank Kunert blurs the line between functionality and absurdity, challenging viewers to reflect on the content they absorb daily.

Frank Kunert

Menu à deux, 2009

Image courtesy Hatje Cantz

"In Frank Kunert’s Menu à Deux, meanwhile, the V-shaped dining table and perfectly symmetrical place settings imply a (nonexistent) mirror—or perhaps a difficult relationship." notes Karen Rosenberg in The New York Times (June 16, 2011).

Frank Kunert doesn’t just aim to amuse; he unsettles, inviting us to pause and see the world through a different lens. His photographs, though seemingly lighthearted, often reveal a quiet melancholy, or a veiled critique of modern society.

In short, Frank Kunert is a sculptor of absurdity and a photographer of the impossible, whose images, beneath their wry humor, capture the paradoxes of a very real world.

I recommend this book to you.

HATJE CANTZ

www.hatjecantz.com

The Seoul Issue, Aperture Magazine, Fall 2025, No. 260 - A kaleidoscopic portrait of Seoul through the eyes of South Korean photographers

The Seoul Issue

Aperture Magazine

No. 260, Fall 2025  

The Seoul Issue, Aperture Magazine 

No. 260, Fall 2025

Photography by Heeseung Chung

Image courtesy of Aperture

Aperture has released “The Seoul Issue,” a kaleidoscopic portrait of Seoul through the eyes of its extraordinary photographers. The latest entry in the magazine’s series of city-focused editions—following Accra, Delhi, Los Angeles, Mexico City, New York, Tokyo, and São Paulo—this issue brings together modern and contemporary image makers who embody the varied and flourishing photography scene of South Korea’s capital, a megacity now at the center of contemporary art and culture.

The Seoul Issue, Aperture Magazine 

No. 260, Fall 2025

Photography by Yongjoon Choi

Image courtesy of Aperture

“The Seoul Issue” introduces some of Korea’s most influential photographers to an international audience. In an in-depth interview, Heinkuhn Oh discusses his uncanny portraits of teenagers, soldiers, and other social types who speak to collective and personal anxiety in Korean society. Aperture’s editor in chief, Michael Famighetti, profiles Bohnchang Koo, who obsessively collects and photographs moon jars, masks, figurines, and other talismanic objects, treating them as conduits to Korean history. Hyunji Nam catches up with Nikki S. Lee, who dropped out of New York’s art world and returned to Seoul after establishing herself as an enfant terrible in the 1990s with portraits of herself embedded in various subcultures. And critic Andrew Russeth celebrates the rich legacy of Space, Korea’s longest-running architecture magazine and a record of Seoul’s shape-shifting skyline.

The Seoul Issue, Aperture Magazine 

No. 260, Fall 2025

Photography by Suntag Noh

Image courtesy of Aperture

The Seoul Issue, Aperture Magazine 

No. 260, Fall 2025

Photography by Yezoi Hwang

Image courtesy of Aperture

Many of Seoul’s photographers grapple with the geopolitics and tensions of the past and the anxieties of the present, among them a cold war with North Korea and an ongoing crisis of democracy. While photojournalist Suntag Noh has spent decades depicting the region’s ideological rifts and contradictions with a dark absurdity, Yezoi Hwang hit the streets last winter, photographing large-scale protests that began when a now-impeached president declared martial law this past December. Yezoi Hwang imbues political subject matter with intimacy, as does the pathbreaking feminist photographer Youngsook Park, whose lyrical 1960s photographs are featured here.

Writer and curator Jaeyong Park contributes an essay on how a younger generation of photographers is exploring Seoul’s postmodern relationship to images, arguing that the city, through its profusion of screens that are “everywhere and nowhere,” has become a “prototype for a post-photographic future.” Cover artist Heeseung Chung grapples with this deluge of images by treating each of her eclectic, playful photographs as incomplete, steering us toward the mysterious gaps between pictures, whereas Chorong An’s recombinant photographs evoke life under the regime of K-beauty.

Weaving together multiple timelines and perspectives, “The Seoul Issue” is an essential resource for understanding how Korean photographers have mapped and continue to map the past, present, and future of a city defined by restless, dizzying transformation.

APERTURE

aperture.org

Mary Heilmann @ Hauser & Wirth Zurich - Works on Paper

Mary Heilmann. Works on Paper 

Hauser & Wirth Zurich

26 September – 20 December 2025

Mary Heilmann

Tea Garden, 1984

Watercolor on paper, 76.2 x 55.9 cm / 30 x 22 in

Photo: Thomas Müller

© Mary Heilmann

Courtesy the artist, Hauser & Wirth and 303 Gallery, New York

Mary Heilmann

Untitled Watercolor Study, ca. 1986-1988

Watercolor and pencil on paper, 12.7 x 17.5 cm / 5 x 6 7/8 in

Photo: Thomas Müller

© Mary Heilmann

Courtesy the artist, Hauser & Wirth and 303 Gallery, New York

Mary Heilmann returns to Hauser & Wirth’s Zurich gallery on Limmatstrasse with an exhibition of more than 30 drawings made between 1975 and 2005. Expanding on the artist’s exhibition of works on paper, ‘Daydream Nation’, at Hauser & Wirth New York last year, this presentation continues the recent in-depth exploration into Heilmann’s long-standing drawing practice and coincides with the release of a new publication from Hauser & Wirth Publishers, ‘Mary Heilmann. Works on Paper: 1973 – 2019’. 

Raised in San Francisco and Los Angeles, Mary Heilmann (b. 1940) completed a degree in literature, before receiving her M.A. in ceramics and sculpture at the University of California, Berkeley. Only after moving to New York in 1968 did she begin to paint and in the early 1970s establish a drawing practice that continues to this day.  

Ranging from watercolor studies to paintings on paper in their own right, ‘Mary Heilmann. Works on Paper’ brings together a selection of rarely and never-before-seen drawings that fluctuate in scale and materiality. The exhibition is a celebration of Heilmann’s talent for translating complex images and ideas into deceptively simple geometric forms and abstract gestural marks.  

Mary Heilmann

Untitled Watercolor Study, ca. 1983-86

Watercolor and graphite on paper, 17.8 x 12.7 cm / 7 x 5 in

Photo: Genevieve Hanson

© Mary Heilmann

Courtesy the artist, Hauser & Wirth and 303 Gallery, New York

Mary Heilmann

Untitled Watercolor Study, ca. 1987-1989

Watercolor and pencil on paper, 27.9 x 21.6 cm / 11 x 8 1/2 in

Photo: Genevieve Hanson

© Mary Heilmann

Courtesy the artist, Hauser & Wirth and 303 Gallery, New York

Many of Heilmann’s most well-known and admired series – Fans, Chairs, Serapes, Grids – are represented in the installation as are drawings that have related works in important European museum collections. 'Untitled Watercolor Study' (ca. 1983 – 1986) is one of two drawings in the exhibition that are part of a series of works by Heilmann in tribute to the Dutch painter Piet Mondrian that includes ‘M.’ (1985), a painting in the collection of the Museum Kunstpalast. ‘Islands’, (1988), one of the larger watercolors on view, was made after ‘Laurens’ (1986), an oil on canvas in the collection of the De Pont Museum. 

The works on view not only demonstrate Heilmann’s work serially but also her tendency to revisit and reimagine certain arrangements of form and color. Made 15 years apart, ‘Broken Study’ (2005) is a recompilation of an early red, black and white composition, ‘Untitled Watercolor Study’ (ca. 1989) and Heilmann’s web imagery seen in ‘Blue Net’ (1991).  

As an artist known for working across mediums and for installations that playfully combine disparate works, the exhibition also includes a selection of ceramic ‘Spots’ and sculptural chairs.  

Mary Heilmann: Works on Paper, 1973–2019

Text by Alexis Lowry, Jo Applin, Ilana Savdie

Hauser & Wirth Publishers

English Paperback, 26 x 20 cm; 152pp

16 September (UK, ROW & US)

An in-depth study of Mary Heilmann’s mesmerizing works on paper that explores drawing as a form of daydreaming and memory-making for the influential abstract painter. 

Mary Heilmann’s works on paper are suffused with the same sensibility as her influential abstract paintings, a casual playfulness animating a rigorous attention to form and colour, resulting in joyful, evocative geometries. Their suggestive power reflects Heilmann’s process of what she calls ‘daydreaming’: a conjuring of the sights, sounds, and events of past and future travels, the cyclical nature of memory informing her return to various motifs across nearly five decades of work. Edited and with an introduction by curator Alexis Lowry, ‘Mary Heilmann: Works on Paper, 1973 – 2019’ includes an essay by art historian Jo Applin and a personal reflection by painter Ilana Savdie, all together offering a compelling account of this previously underexamined aspect of Heilmann’s practice. 

Artist Mary Heilman

Considered one of the preeminent contemporary Abstract painters, Mary Heilmann is best known for incorporating a fusion of personal and cultural influences and craft traditions into an artistic practice including paintings, ceramics, and furniture. 

Mary Heilmann is the subject of two major institutional exhibitions, ‘Mary Heilmann. Starry Night’ at Dia Beacon in Beacon NY and ‘Mary Heilmann. Water Way’ at Guild Hall in East Hampton, NY both close in October 2025. On view at the Whitney Museum of American Art until January 2026 is ‘Mary Heilmann: Long Line,’ a site-specific installation that celebrates the 10th anniversary of the opening of the Whitney Museum’s downtown building.  

Her work is included in many prominent international collections, such as those of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; and Museum Ludwig, Cologne, Germany.

HAUSER & WIRTH ZURICH

Limmatstrasse 270, 8005 Zürich

www.hauserwirth.com

Vik Muniz on Photography, Mind, and Matter - The Photography Workshop Series - Aperture, 2025 - A Workshop Experience in a Book

Vik Muniz on Photography, Mind, and Matter

The Photography Workshop Series

Aperture, 2025

Vik Muniz on Photography, Mind, and Matter

The Photography Workshop Series

Aperture, 2025

Format: Paperback / softback

Number of pages: 128

Number of images: 99

Publication date: 2025-08-12

Measurements: 7.5 x 10 x 7.5 inches

ISBN: 9781597114455

In Aperture’s newest volume of The Photography Workshop Series, Vik Muniz—known for his playful pictures that complicate what is understood as a photograph, sculpture, or painting—offers his insight into thinking creatively and seeing the familiar in new and surprising ways.

Aperture works with the world’s top photographers to distill their creative approaches, teachings, and insights on photography—offering the workshop experience in a book. The goal is to inspire photographers of all levels who wish to improve their work, as well as readers interested in deepening their understanding of the art of photography.

Through images and words, Vik Muniz—whose signature style appropriates and reinterprets iconic images—shares his creative practice and discusses a wide range of topics, from generating ideas and creating artworks that challenge viewers’ perceptions, to thinking through collaboration, imperfection, and the interplay of subject, scale, and material.

Vik Muniz on Photography, Mind, and Matter is published by Aperture and available at aperture.org/books.

Public programs planned in conjunction with the new publication include a book signing with the artist at Sikkema Malloy Jenkins in New York on September 6 at 1:00 p.m, and an artist talk at the School of Visual Arts, New York, on September 9 at 6:30 p.m. Details are posted at aperture.org/events.

Vik Muniz (born in São Paulo, 1961) is a prolific, internationally recognized artist, whose signature style appropriates and reinterprets iconic images of our time. His work is featured in major collections, including the Art Institute of Chicago; Museum of Contemporary Art, Los Angeles; J. Paul Getty Museum, Los Angeles; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Museu de Arte Moderna de São Paulo; and Victoria and Albert Museum, London. He has published many books, including the Aperture titles Reflex: A Vik Muniz Primer (2005) and Postcards from Nowhere (2020). Waste Land, a documentary about his work in the favelas and landfills around Rio de Janeiro, was nominated for an Academy Award in 2010.

Lucas Blalock is a Brooklyn-based photographer whose work is in the collections of the Dallas Museum of Art; Solomon R. Guggenheim Museum, New York; Hammer Museum, Los Angeles; Metropolitan Museum of Art, New York; Museum of Fine Arts Boston; Portland Museum of Art, Maine; and the Whitney Museum of American Art, New York, among many others. His work has been featured in publications including Artforum, The New York Times, The New Yorker, Art in America, The Brooklyn Rail, BOMB Magazine, W Magazine, British Journal of Photography, and Time.

APERTURE

aperture.org

Austin Martin White @ Petzel Gallery, NYC - "Tracing Delusionships" Exhibition

Austin Martin White

Tracing Delusionships

Petzel Gallery, New York

September 4 – October 18, 2025

Petzel presents Tracing Delusionships, an exhibition of new largescale paintings and works on paper by Philadelphia-based artist Austin Martin White. The show marks White’s second solo exhibition with the gallery. This exhibition corresponds with the release of Austin Martin White’s first monograph. 

Austin Martin White draws on various references to excavate the ways in which history can be bent, reassembled, or hallucinated. Among the most ambitious in scale White has completed to date, the artist debuts a new series which interprets etchings by 18th century Italian architect, artist, and archaeologist Giovanni Battista Piranesi, who fused real monuments and fictive views from antiquity. White probes the inspirational potential of a collapsed, classical past, summarized by Piranesi’s concept of “speaking ruins”: a description for architecture that conjures a world beyond its remains.

Interested in how these images traffic through time as empires decline and global powers shift, Austin Martin White warps, stretches, and splices Piranesi’s reproductions, investigating ruins as arbiters of historical memory. Crumbling arches and labyrinthine stairways, once etched in ink, are fractured and extruded by White through his signature process. Drawing from archival sources, he translates imagery into digital drawings, laser-cuts vinyl stencils, and pushes latex paint through mesh screens from behind. He renders his “Ruins” in maze-like, snaking estuaries of paint. Surfaces appear ridged and vascular, as if oozing from a primordial core.

Monumental in scale, these paintings conjure visions of fantastical follies—structures made not for function but for wonder—while also signaling scenes of industrial collapse or cities devastated by war. Saturating the present yet overlapping with centuries past, White’s images of wreckage become sites of projected anguish, longing, delusion, and desire.

Austin Martin White also turns to the legacy of Bob Thompson, an artist who reimagined the formal and conceptual boundaries of classical painting. Through his “After Thompson” works, White references La Mort des Enfants de Bethel (1964/1965), Thompson’s gouache rendering of the biblical Massacre of the Innocents. White distorts Thompson’s composition further, reframing the plight of the innocents in a present tense. Figures appear ghost-like, as if excreted from the surface, and landscapes buzz with volatile, chromatic intensity—an afterlife of an image that resists repose.

Returning to artists like Thompson and Piranesi, Austin Martin White explores how both destabilize their sources—sometimes reverently, sometimes destructively. White embraces the fragment, sitting in the tension between structure and breakdown, past and present, image and aftermath.

Artist Austin Martin White

Austin Martin White (b. 1984, Detroit, Michigan) is an artist living and working in Philadelphia, Pennsylvania. He holds a BFA from The Cooper Union and earned an MFA from the Milton Avery Graduate School of the Arts at Bard College.

Working with a variety of mediums including rubber, acrylic, spray-paint, vinyl, 3m reflective fabric and screen mesh mediums, White creates paintings and works on paper that investigate representations of historical memory, drawing on archival research that addresses issues of identity, race and postcolonialism.

White’s work has appeared in numerous publications including Artforum, Texte zur Kunst, Flash Art, 032c and The Observer, among others.

Austin Martin White was included in the group exhibition Overflow, Afterglow: New Work in Chromatic Figuration at the Jewish Museum, New York in 2024, marking his first institutional presentation. Austin Martin White had his first solo exhibition at Petzel’s Upper East Side location.

PETZEL GALLERY

520 West 25th Street, New York, NY 10001

www.petzel.com

Matthew Rolston - Vanitas: The Palermo Portraits @ Fahey / Klein Gallery, Los Angeles + Other Venues in LA + Special limited-edition monograph on Nazraeli Press

Matthew Rolston

Vanitas: The Palermo Portraits

Fahey / Klein Gallery, Los Angeles

September 25 - November 8, 2025

Photographer and artist MATTHEW ROLSTON, in partnership with Fahey/Klein Gallery, Los Angeles, ArtCenter College of Design, Daido Moriyama Museum / Daido Star Space, and Leica Gallery, present a multi-venue Los Angeles exhibition of his latest series Vanitas: The Palermo Portraits, alongside the release of a special limited-edition monograph on Nazraeli Press.

Four individual works will be on view in a solo exhibition at Fahey/Klein Gallery, Los Angeles, which will display the most extensive presentation of the Vanitas series, including the monograph’s cover photograph. 

At ArtCenter College of Design, Rolston will further present a triptych of the Vanitas work as a wall-sized installation at the College’s South Campus, curated by Julie Joyce, Director, ArtCenter Galleries and Vice President, Exhibitions. This presentation will be the only triptych on exhibition; the central panel appears on the clamshell cover of the forthcoming Vanitas monograph, a signature of the series. These three works, hung in ArtCenter’s Mullin Transportation Design Center, comprise two images of mummified children flanking one of an elderly adult, brought together in the style of an altarpiece, where the sacred and mundane, youth and elder age, collide. 

A single work will be shown at a solo exhibition that will open with a book launch and artist signing at Daido Star Space in downtown Los Angeles on September 30, 2025. Organized in collaboration with the Daido Moriyama Photo Foundation in Tokyo, the presentation echoes the institution’s interest in cross-cultural approaches to photography. 

Leica Gallery, Los Angeles, will present another solo exhibition of an additional single work from Vanitas, accompanied by a public artist talk and book signing. At a venue rooted in the technical and material traditions of photography, this presentation will highlight the painterly, craft-driven aspects of Rolston’s Vanitas project. 

Together, these four distinct presentations introduce Vanitas as a ‘mostra diffusa’, an exhibition intentionally distributed among multiple venues. This multi-venue presentation across Los Angeles reflects a conscious departure from the contemporary conventions of exhibition production, recalling art historical traditions in which singular works were presented in isolation. 

All works, regardless of exhibition venue, will be available exclusively through Fahey/Klein Gallery, Los Angeles, which will also offer an artist-signed edition of the exhibition’s accompanying monograph. 

MATTHEW ROLSTON 

Vanitas: The Palermo Portraits

Nazraeli Press, Mid-September 2025

A special edition of 500 copies 

presented in a custom clamshell case

Hardcover: 12.5 x 18 x 1.5 inches, 

118 pages, 50 four-color plates

ISBN: 978-1-59005-588-5 - $225.00

Book Cover Courtesy of Nazraely Press

FAHEY / KLEIN GALLERY

148 North La Brea Avenue, Los Angeles, CA 90036

www.faheykleingallery.com

Rétrospective Suzanne Duchamp @ Kunsthaus Zürich

Rétrospective Suzanne Duchamp 

Kunsthaus Zürich

Jusqu'au 7 Septembre 2025

Le Kunsthaus Zürich consacre à SUZANNE DUCHAMP la première rétrospective au monde. Ses compositions minimalistes et pourtant graphiquement marquantes, associées à des titres suggestifs comme «Usine de mes pensées», sont entrées dans l’histoire de l’art et néanmoins source d’inspiration jusqu’à nos jours. Malgré son appartenance à l’une des familles d’artistes les plus célèbres, son oeuvre est restée jusqu’à présent largement inconnue du grand public. Cette exposition, qui réunit des prêts exceptionnels provenant d’institutions publiques et de collections privées renommées, rend à Suzanne Duchamp la place de premier plan qu’elle mérite.

Dadaïste, peintre, SUZANNE DUCHAMP (1889, Blainville-Crevon – 1963, Neuilly-sur-Seine) a laissé à la postérité une oeuvre aux multiples facettes dont certains éléments figurent dans des collections réputées, mais qui pour l’essentiel est surtout appréciée d’un public d’initié(e)s. Duchamp entretenait des liens étroits avec les avant-gardes de son époque et a enrichi l’histoire de l’art d’apports très personnels. Soeur de Marcel Duchamp, de Raymond Duchamp-Villon et de Jacques Villon, elle échangeait beaucoup avec eux. En 1919, elle a épousé l’artiste suisse Jean Crotti, dont le Kunsthaus Zürich possède des oeuvres clés, et avec qui Suzanne Duchamp a occasionnellement coopéré. La dernière exposition d’ampleur consacrée aux deux artistes a eu lieu en 1983 au Centre Pompidou, à Paris, en coopération avec la Kunsthalle Bern. Il est donc grand temps de mettre à l’honneur le travail de Suzanne Duchamp et d’en montrer toute la profondeur. Par son langage visuel subtil, esthétique et plein d’humour, elle incarne une combinaison hors du commun dans le mouvement dadaïste. Quelle ville conviendrait mieux que Zurich, cité natale de Dada, pour enfin donner à cette artiste d’exception toute l’attention qu’elle mérite?

SUZANNE DUCHAMP : À LA FOIS ABSTRAITE ET FIGURATIVE

Dans son art, Suzanne Duchamp a exploré des voies variées. À Paris, dans le sillage du cubisme, elle commence par se pencher sur la fragmentation d’intérieurs intimes et de paysages urbains, avant de se tourner vers le mouvement Dada. Ses oeuvres associent peinture et poésie dans une démarche expérimentale qui joue avec différents supports et matériaux.

Même si sa peinture évolue de plus en plus vers l’abstraction dans les années 1910, Suzanne Duchamp reste toujours fidèle à certains repères visuels, renforcés par des titres énigmatiques. En 1922, pour des raisons diffuses, elle rompt inopinément avec Dada pour se tourner vers une peinture figurative aux accents souvent ironiques et naïfs.

Dans les décennies qui suivent, elle crée des oeuvres contenant un large spectre de motifs, qui se caractérisent par des expérimentations sur les pigments et par l’importance structurante du dessin. En 1949, son influente amie Katherine S. Dreier la qualifie de « peintre semi-abstraite » – ce qui est une formulation pertinente pour une oeuvre échappant à toutes les conventions de l’histoire de l’art.

UNE EXPOSITION INTÉGRANT LES TOUTES DERNIÈRES RECHERCHES

Cette rétrospective réunit les oeuvres dadaïstes de Suzanne Duchamp et des travaux datant de ses phases antérieures et postérieures de création. Talia Kwartler, commissaire invitée, a étudié pendant plusieurs années l’oeuvre de Suzanne Duchamp et soutenu une thèse de doctorat sur cette artiste au University College de Londres. En 2024, elle a été chargée de cours à l’université de Zurich sur le thème des femmes dans le mouvement Dada.

La détermination de Talia Kwartler a permis de transformer la présentation prévue en une vaste rétrospective, la première jamais consacrée à cette artiste, élaborée avec Cathérine Hug, commissaire au Kunsthaus et spécialiste du mouvement Dada. L’exposition s’inscrit ainsi dans la longue tradition des présentations de Dada organisées au Kunsthaus Zürich depuis 1966, et peut être considérée comme un événement majeur dans la recherche en histoire de l’art. Réunissant près de 50 tableaux, 20 travaux sur papier ainsi que des documents d’archives rares et des photographies d’époque, cette rétrospective offre une vue d’ensemble de toute l’oeuvre de Suzanne Duchamp. De nombreux travaux n’ont été redécouverts qu’au terme d’intenses recherches. Parmi les prêteurs figurent des institutions comme le MoMA de New York, le Philadelphia Museum, l’Art Institute de Chicago, le Centre Pompidou de Paris, la Bibliothèque nationale de France et la Bibliothèque littéraire Jacques Doucet à Paris, le Musée des Beaux-Arts de Rouen, mais aussi d’importantes collections privées comme la Bluff Collection et la collection de Francis M. Naumann et Marie T. Keller. Cette rétrospective a vu le jour en étroite collaboration avec l’Association Duchamp Villon Crotti.

SUZANNE DUCHAMP : PUBLICATION

À l’occasion de l’exposition, la première monographie consacrée à Suzanne Duchamp vient de paraître, avec de nombreuses reproductions. L’ouvrage comporte une biographie détaillée rédigée par Talia Kwartler, ainsi que des articles d’historiennes de l’art comme Carole Boulbès, Cathérine Hug et Effie Rentzou, auxquels s’ajoutent des perspectives artistiques de Jean-Jacques Lebel (interview) et Amy Sillman (images). La postface est signée Anne Berest, autrice de best-sellers. Cet ouvrage de 192 pages est paru aux éditions Hatje Cantz.

Cette rétrospective est une coopération avec la Kunsthalle Schirn de Francfort (10 octobre 2025 - 11 janvier 2026), où le commissariat est assuré par Ingrid Pfeiffer.

KUNSTHAUS ZURICH  

Heimplatz, 8001 Zurich

www.kunsthaus.ch

Retrospective Suzanne Duchamp 

Kunsthaus Zürich, 6 Juin - 7 Septembre 2025

The Shape of a Circle in the Mind of a Fish, Edited by Lucia Pietroiusti and Filipa Ramos, Hatje Cantz + Serpentine

The Shape of a Circle in the Mind of a Fish

Edited by Lucia Pietroiusti and Filipa Ramos

Hatje Cantz + Serpentine

The Shape of a Circle in the Mind of a Fish

Edited by Lucia Pietroiusti and Filipa Ramos

Hatje Cantz + Serpentine

Serpentine announces the launch of The Shape of a Circle in the Mind of a Fish, a book edited by Lucia Pietroiusti, Head of Serpentine Ecologies and curator and lecturer at the Academy of Art and Design of Basel Filipa Ramos. The launch event of the publication, which includes 100 contributors across the arts and sciences, will take place in London at the Royal College of Art on 27th October 2025.

 

The Shape of a Circle in the Mind of a Fish is a publication that brings together interventions across the arts, the humanities and the sciences to investigate the history and cutting-edge of more-than-human theories, from animal, plant and fungal intelligence, consciousness and affect, machine sentience and interspecies communication. This publication is an important landmark in Serpentine’s long-term research project of the same name, begun in 2018 to inaugurate Serpentine’s General Ecology project.

 

The publication includes original conversations, essays, interviews, meditations, poems and artwork representations by 100 of the most celebrated environmental thinkers and creatives across disciplines – anthropologists, artists, biologists, ecologists, gardeners, musicians, philosophers, theologians and more, including Sophia Al-Maria, Ted Chiang, Emanuele Coccia, Peter Gabriel, Tim Ingold, Elizabeth A. Povinelli and Karrabing Film Collective, Maria Puig de la Bellacasa, Himali Singh Soin, Merlin Sheldrake, Superflex, Jenna Sutela, Anna L. Tsing, Chris Watson and many more.

 

The Shape of a Circle in the Mind of a Fish is arranged in five chapters. The first, titled Worlds, focuses on principles of symbiosis and coevolution, anthropological approaches to more-than-human beings; and radical reimaginings of the planet. The second, Beings, presents more-than-human beings as collaborators, co-thinkers, and interlocutors – from the sound of a forest stretching and shifting to the swarming messiness of the soil, through to the body language of animals. The third, entitled Grounds, hosts debates concerning more-than-human and planetary life within the social and political entanglements of anthropocentrism, and calls for more-than-human and environmental practices of justice. Odes, the fourth chapter, brings to the fore an understanding of mythology, storytelling, and meaning-making as planetary manifestations, tracing human/more-than-human relations across deep time. In Oracles, the book’s closing chapter, the spiritual realm and advanced technologies (human and non-human) meet at the porous and uncertain edges of planetary computation and complexity.

 

Publication launches are planned internationally throughout 2025, including at IMMA Dublin on 14th September and then a launch at the Royal College of Art, London, on October 27th 2025, which will feature a Serpentine Cinema programme as well as the presentation of Filipa Ramos’ latest monograph, The Artist as Ecologist (London: Lund Humphreys, October 2025), which discusses the ways in which contemporary artists embrace practices of environmentalism. The London event will include a lecture performance by Elizabeth A. Povinelli. The first launch of the publication took place at E-WERK Luckenwalde, Germany as part of the festival’s sixth iteration, subtitled Love and Lament, and presented by Schering Stiftung, Berlin.

 

Art Direction by Giles Round. Contributors: Andrew Adamatzky; Yussef Agbo-Ola/Olaniyi Studio; Sophia Al-Maria; Allora & Calzadilla; Saelia Aparicio; Chloe Aridjis; Heather Barnett; Antoine Bertin; Lynne Boddy; Elizabeth-Jane Burnett; Vivian Caccuri; Mariana Caló & Francisco Queimadela; Federico Campagna; Teresa Castro; Alex Cecchetti; Vint Cerf; Ted Chiang; Sean Cho A.; Nicola Clayton; Emanuele Coccia; Revital Cohen; & Tuur Van Balen; The Coven Intelligence Program; Marisol de la Cadena; Michela de Mattei; Onome Ekeh; Cru Encarnação; James Fairhead; Adham Faramawy; Simone Forti; Claire Filmon; Rosalind Fowler; Peter Gabriel; Elaine Gan; Jay Gao; Sabine Hauert; Daisy Hildyard; Amy Hollywood; Hylozoic/Desires (Himali Singh Soin & David Soin Tappeser); Tim Ingold; Derek Jarman; Alex Jordan; Karrabing Film Collective; Leah Kelly; Asim Khan; Kapwani Kiwanga; Dominique Knowles; Bettina Korek; Simone Kotva; Daisy Lafarge; Hannah Landecker; Yasmeen Lari; Long Litt Woon; Annea Lockwood; Thandi Loewenson; Miranda Lowe; Sophie Lunn-Rockliffe; Marcos Lutyens; Carlos Magdalena; Michael Marder; Alex McBratney; Natasha Myers; Nahum; Rasmus Nielsen/ SUPERFLEX; Hatis Noit; Hans Ulrich Obrist; Angelica Patterson; Lucia Pietroiusti; Elizabeth A. Povinelli; Maria Puig de la Bellacasa; Filipa Ramos; Asad Raza; Diana Reiss; Tabita Rezaire; Ben Rivers; Giles Round; Merlin Sheldrake; Kostas Stasinopoulos; Jenna Sutela; bones tan jones; Phoebe Tickell; Anaïs Tondeur & Germain Meulemans; Laurence Totelin; Anna L. Tsing; Oula A. Valkeapäa & Leena Valkeapäa; Sumayya Vally; Kim Walker; Chris Watson; Elvia Wilk; Rain Wu & Mariana Sanchez Salvador.

 

Published by Hatje Cantz, The Shape of a Circle in the Mind of a Fish is distributed worldwide as well as on Serpentine’s website.

The Shape of a Circle in the Mind of a Fish 

History of the programme

The Shape of a Circle in the Mind of a Fish began as a multi-year symposium, podcast and research project investigating consciousness and intelligence across species and beings and was launched in 2018 at the London Zoo. Since 2018, it has welcomed over 10,000 audience members and viewers and been a pioneer in environmental and ecological convenings.

 

2018 at the London Zoo: PART 1 LANGUAGE: On interspecies communications, with Ted Chiang, Vint Cerf, Peter Gabriel and more.

 

2018 at Ambika P3: we have never been one: On Gaia theory and micro-organisms, with Anna Lowenhaupt Tsing, Sophia Al-Maria and more.

 

2019 at EartH Hackney: with plants: on plant consciousness, plant intelligence and communication with the vegetal world, with Tabita Rezaire, Chris Watson and more.

2020 online: the understory of the understory: on land, earth, soil, fungi, with Elizabeth A. Povinelli and Merlin Sheldrake and more. This event marked the launch of Sheldrake’s landmark publication, Entangled Life.

 

2022, Galeria da Biodiversidade, Porto, Portugal: The Shape of a Circle in the Dream of a Fish: on dreams in the non-human world, with Alex Jordan, Onome Ekeh, Federico Campagna and more.

2025, E-WERK Luckenwalde/Schering Stiftung: The Shape of a Circle in the Mind of a Fish: Love and Lament: on grief and intimacy in a more-than-human world, with Aslak Aamot Helm, Antoine Bertin, Kapwani Kiwanga, Michael Ohl, Alejandra Pombo Su, Elizabeth Povinelli, Claudia Rankine, Asad Raza, Giles Round, Jenna Sutela, Jovana Maksic, Staci Bu Shea and Revital Cohen & Tuur Van Balen.

 

In addition, releases on Serpentine Podcast’s series: “On General Ecology” and collaborations with renowned environmental podcast Future Ecologies brought together some 60,000 listeners to dive deeper into the ideas and experimentations of the series.

About Serpentine Ecologies

Since 2014’s Extinction Marathon with artist Gustav Metzger, Serpentine has been at the forefront of environmental action and thought. Since the establishment of the General Ecology project in 2018,  the Ecologies initiatives nurture Serpentine’s ongoing engagement with ecology, climate breakdown, more-than-human consciousness, environmental justice and complexity in a changing world. Stretching across all of Serpentine’s activities, infrastructures and networks, Serpentine Ecologies takes a speculative and active stance towards embedding alternative narratives and deep ecological principles into the everyday. Ecologies’ initiatives manifested with projects such as Court for Intergenerational Climate Crimes: The British East India Company on Trial in April 2025, Back to Earth, (2020- 2022), Infinite Ecologies Marathon in 2023, and Daisy Ginsberg’s Pollinator Pathmaker in Kensington Gardens among many other projects. As part of Serpentine’s Back to Earth project, Serpentine and Penguin Press published 140 Artists’ Ideas for Planet Earth, a book inviting artists to re-think the climate emergency.

SERPENTINE GALLERIES

www.serpentinegalleries.org