Francis Picabia: Expanding Horizons presented at Hauser & Wirth until 1 August 2026, offers a substantial overview of […]
Francis Picabia: Expanding Horizons presented at Hauser & Wirth until 1 August 2026, offers a substantial overview of the artist’s long and deliberately non-linear career, foregrounding the extent to which Picabia resisted stylistic consistency in favour of continual reinvention. It’s one of the strongest private gallery show, this season. Rather than presenting his practice as a progression through modernist movements, the exhibition is structured around discontinuity. Picabia’s work moves between Impressionism, Cubism, Dada, figuration and abstraction without settling into any single position. The early works, drawn from the 1900s and 1910s, show an artist initially working within Impressionist and Neo-Impressionist conventions and inspired by Spanish folklore. Even here, however, there is a marked tendency towards rupture, with increasingly open handling of form and colour that begins to push beyond the boundaries of naturalistic description. The Dada period marks a decisive break. Working across Paris, Zurich and New York, Picabia produced machine-based compositions that reject traditional painterly values in favour of impersonal imagery. Freedom! These works align him with broader anti-art strategies associated with Dada, particularly the work of figures such as Marcel Duchamp, although Picabia’s approach is notably less systematic and more deliberately inconsistent. A key focus of the exhibition is the “Transparencies” of the 1920s and 1930s. These layered compositions combine multiple iconographic registers, classical references, figures, fragments of earlier works, within densely overlaid structures. Rather than resolving into unified compositions, they operate through accumulation and interference. The works resist hierarchy between images, producing ambiguous spatial and temporal relationships. The exhibition also gives significant attention to Picabia’s wartime and immediate post-war production, particularly his return to figuration in the 1940s. Works from this period draw heavily on popular imagery, including photography and printed ephemera, often producing explicit or stylised depictions of the figure. These paintings have frequently been discussed in terms of appropriation and provocation, but the exhibition situates them more broadly within Picabia’s ongoing interest in collapsing distinctions between “high” and “low” visual culture. The final section of the show focuses on late abstraction produced after Picabia’s return to Paris in the mid-1940s. These works are materially dense and often heavily reworked, with surfaces that suggest multiple revisions over time. While abstract in appearance, they frequently retain traces of earlier figurative or symbolic content, complicating any straightforward reading of them as pure abstraction. Taken as a whole, Expanding Horizons positions Picabia less as a figure aligned with any single modernist trajectory than as an artist consistently working against stylistic stability. The gallery space plays an important role in presenting these rare works. The exhibition shows his role in challenging distinctions between media, image sources and cultural hierarchies. – <img width="1024" height="758" data-attachment-id="36591" data-permalink="https://artisalive.co.uk/2026/06/14/francis-picabia-at-hauser-wirth/hwl26_francispicabia_ecommgrey_picab145481-2/" data-orig-file="https://artisalive.co.uk/wp-content/uploads/2026/06/hwl26_francispicabia_ecommgrey_picab145481-2.jpg" data-orig-size="1200,889" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="HWL26_FrancisPicabia_ECommGrey_PICAB145481-2" data-image-description="" data-image-caption="" data-large-file="https://artisalive.co.uk/wp-content/uploads/2026/06/hwl26_francispicabia_ecommgrey_picab145481-2.jpg?w=940" src="https://artisalive.co.uk/wp-content/uploads/2026/06/hwl26_francispicabia_ecommgrey_picab145481-2.jpg?w=1024" alt="" class="wp-image-36591" srcset="https://artisalive.co.uk/wp-content/uploads/2026/06/hwl26_francispicabia_ecommgrey_picab145481-2.jpg?w=1024 1024w, https://artisalive.co.uk/wp-content/uploads/2026/06/hwl26_francispicabia_ecommgrey_picab145481-2.jpg?w=150 150w, https://artisalive.co.uk/wp-content/uploads/2026/06/hwl26_francispicabia_ecommgrey_picab145481-2.jpg?w=300 300w, https://artisalive.co.uk/wp-content/uploads/2026/06/hwl26_francispicabia_ecommgrey_picab145481-2.jpg?w=768 768w, https://artisalive.co.uk/wp-content/uploads/2026/06/hwl26_francispicabia_ecommgrey_picab145481-2.jpg 1200w" sizes="(max-width: 1024px) 100vw, 1024px" /> Image: Les rochers rouges (The Red Rocks), ca. 1942 – 1943, Oil on cardboard mounted on wood, Photo: Stefan Altenburger Photography Zürich and Le Zèbre (The Zebra) ca. 1909 – 1933, Photo: Damian Griffiths
On view at John Martin Gallery in London from 11 June to 4 July 2026, A Studio on […]
On view at John Martin Gallery in London from 11 June to 4 July 2026, A Studio on the Côte d’Azur presents a group of recent paintings by the Scottish artist Leon Morrocco inspired by the landscapes, villages and distinctive light of southern France. Focusing on the area around Nice, Gourdon and Roquefort-les-Pins, the exhibition reflects the artist’s longstanding engagement with places shaped by colour, atmosphere and architecture. Born in Edinburgh in 1942, Morrocco belongs to a generation of Scottish artists whose careers were defined by travel. After studying at Duncan of Jordanstone College of Art, the Slade School and Edinburgh College of Art, scholarships took him to Italy, where an encounter with Mediterranean light and European painting would have a lasting impact on his practice. Travel has remained central to Morrocco’s work. Drawing directly from observation, he has spent decades filling sketchbooks across Europe, North Africa, India and the Caribbean before developing paintings in the studio. The works occupy a space between documentation and memory. That approach is evident throughout A Studio on the Côte d’Azur. Depictions of hillside villages, olive groves and sunlit façades are rendered through vibrant colour and fluid drawing. While rooted in specific locations, the paintings are less concerned with topographical accuracy than with conveying the experience of place. The Côte d’Azur has long occupied a prominent place in the history of modern art, attracting figures from Renoir and Bonnard to Matisse and Chagall. Morrocco’s paintings do not directly revisit that legacy, but they participate in a tradition in which landscape serves as a catalyst for painterly experimentation. Rich blues, ochres and greens reflect both the chromatic intensity of the region and the artist’s enduring interest in colour as a structural element. Now in his eighties, Morrocco continues to paint with remarkable energy and curiosity. The works in this exhibition demonstrate a commitment to observation and the enduring possibilities of landscape painting. Rather than offering a record of travel, A Studio on the Côte d’Azur explores how light can enhance painting. – <img width="1000" height="960" data-attachment-id="36582" data-permalink="https://artisalive.co.uk/2026/06/14/leon-morroccos-mediterranean-light/leon-morrocco_mountain-still-life-with-skiller-oil-on-canvas_87x91cm/" data-orig-file="https://artisalive.co.uk/wp-content/uploads/2026/06/leon-morrocco_mountain-still-life-with-skiller-oil-on-canvas_87x91cm.webp" data-orig-size="1000,960" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="leon-morrocco_mountain-still-life-with-skiller-oil-on-canvas_87x91cm" data-image-description="" data-image-caption="" data-large-file="https://artisalive.co.uk/wp-content/uploads/2026/06/leon-morrocco_mountain-still-life-with-skiller-oil-on-canvas_87x91cm.webp?w=940" src="https://artisalive.co.uk/wp-content/uploads/2026/06/leon-morrocco_mountain-still-life-with-skiller-oil-on-canvas_87x91cm.webp?w=1000" alt="" class="wp-image-36582" srcset="https://artisalive.co.uk/wp-content/uploads/2026/06/leon-morrocco_mountain-still-life-with-skiller-oil-on-canvas_87x91cm.webp 1000w, https://artisalive.co.uk/wp-content/uploads/2026/06/leon-morrocco_mountain-still-life-with-skiller-oil-on-canvas_87x91cm.webp?w=150 150w, https://artisalive.co.uk/wp-content/uploads/2026/06/leon-morrocco_mountain-still-life-with-skiller-oil-on-canvas_87x91cm.webp?w=300 300w, https://artisalive.co.uk/wp-content/uploads/2026/06/leon-morrocco_mountain-still-life-with-skiller-oil-on-canvas_87x91cm.webp?w=768 768w" sizes="(max-width: 1000px) 100vw, 1000px" />
Image: David Hockney, London, 2023 © David Hockney Photo Credit: Jean-Pierre Gonçalves de Lima
Giorgio Griffa at The Clark Art Institute
The Clark Art Institute will present Giorgio Griffa: Paths in the Forest from 13 June to 12 October, […]
The Clark Art Institute will present Giorgio Griffa: Paths in the Forest from 13 June to 12 October, 2026, marking the artist’s first solo museum exhibition in the United States. The exhibition offers a focused look at nearly six decades of practice by Giorgio Griffa, whose distinctive approach to painting has quietly redefined the boundaries between abstraction, process, and material presence. Griffa, born in Turin in 1936, he works with diluted acrylic paint on unstretched, unprimed canvas. He allows his surfaces to remain deliberately provisional. The canvases are often pinned directly to the wall and later folded for storage, leaving behind visible creases that become part of their history. For Griffa, these traces are not incidental but integral, evidence of a work that continues to live beyond any single installation. The resulting works are beautiful. At the core of his practice is what he describes as “the intelligence of materials.” Rather than treating painting as either representation or pure abstraction, Griffa considers his works as material facts, structures that register time, gesture, and interruption. His marks, often repeating sequences of lines, numbers, or rhythmic patterns, evoke systems of writing or counting while resisting fixed meaning. He describes them as “impersonal marks that belong to any hand, with thousands of years of memory,” suggesting a language that precedes and exceeds the individual artist. A defining aspect of Griffa’s method is his decision to stop before completion. He often “interrupts” a painting mid-flow, guided by the belief that continuation would impose closure on something inherently open. As he has noted, “in the meantime, life has moved on,” a reflection influenced by Zen thought and its acceptance of impermanence. In this way, each work remains suspended in a state of becoming, refusing the finality implied by a finished image. Over the course of his career, Griffa has developed thirteen loosely connected cycles of work, each exploring variations on form, rhythm, and restraint. He describes these series as “different pathways through the same dark forest,” a metaphor that gives the exhibition its title. The forest becomes both a space of uncertainty and a model for thinking: a place where direction is not predetermined, and where attention replaces resolution. Across his canvases, his sensibility translates into a quiet but persistent invitation to look again, to follow traces rather than conclusions, and to remain attentive to what is still unfolding. The exhibition is accompanied by a catalogue featuring four scholarly essays, a newly commissioned text by the artist, and extensive studio and installation photography. Image: Giorgio Griffa, Canone aureo 958 (Agnes Martin) (Golden ratio 958 [Agnes Martin]) (detail) 2016, acrylic on canvas. Courtesy of Fondazione Giorgio Griffa, Turin, and Casey Kaplan, New York
Henry Moore: Monumental Nature, Kew Gardens
Kew Gardens has unveiled what is being billed as the largest-ever outdoor presentation of works by Henry Moore, […]
Kew Gardens has unveiled what is being billed as the largest-ever outdoor presentation of works by Henry Moore, and the most comprehensive staging of the British sculptor’s practice in a generation. Across the 320-acre UNESCO World Heritage Site, 30 monumental bronzes have been installed in dialogue with the landscape, while a parallel display in the Shirley Sherwood Gallery of Botanical Art brings together more than 90 works, including bronzes, drawings, prints, wood carvings and rarely seen studies. This is the show of the season and it’s running until 31st January 2027. Kew has described the project as part of its wider ambition to integrate major contemporary art commissions within its living collections, following previous collaborations with artists including Marc Quinn, Dale Chihuly and Rebecca Louise Law. Presented in partnership with the Henry Moore Foundation, Monumental Nature extends across the entirety of the gardens rather than being concentrated in selected zones, as in Kew’s earlier 2007 presentation. The exhibition also includes works installed inside the Temperate House, the world’s largest surviving Victorian glasshouse. The environment for the works is spectacular! Moore’s tatement on outdoor sculpture anchors the curatorial approach in this fantastic ground: “Sculpture is an art of the open air. Daylight, sunlight is necessary to it, and for me its best setting and complement is nature. I would rather have a piece of my sculpture put in a landscape, almost any landscape, than in, or on, the most beautiful building I know.” Kew describes the project as a “once-in-a-generation presentation” and the most extensive survey of Moore’s work to date in any single outdoor setting. The curatorial premise rests on Moore’s long-held belief in the primacy of landscape as a setting for sculpture. As the exhibition notes: “Henry Moore liked to work outside at his home in Perry Green. Although he also undertook many urban public commissions, he felt that his sculptures looked best when they were surrounded by nature.” For Moore, nature is presented not as backdrop, but as active intelligence: a mirror for human experience and a constant point of return in his thinking. That position is reiterated across the curation, with works including Large Two Forms, Sheep Piece, Large Reclining Figure, Oval with Points, Reclining Woman: Elbow, Locking Piece and Three Piece Sculpture: Vertebrae distributed across lawns, water ponds and woodland edges. In Double Oval (1966), the relationship between object and environment becomes explicitly optical. The large openings in Double Oval 1966 frame different views across Kew’s landscape, merging the sculpture’s abstract shape with the natural environment. Truly beautiful. A second thematic strand running through the exhibition is Moore’s sustained engagement with bone as both form and structural principle. Henry Moore became fascinated with bones while studying sculpture in the 1920s. Their form and strength influenced his work for decades after. This interest is evident in Large Standing Figure: Knife Edge (1961), derived from a fragment of bird’s breastbone found in Moore’s garden. Nearby, Three Piece Sculpture: Vertebrae (1968–69), installed close to the Palm House, extends this anatomical vocabulary into sculpture. Three Piece Sculpture: Vertebrae 1968-69… features three bronze pieces designed to fit together, mimicking the sections of a backbone. Moore described the origins of the work in explicitly observational terms: “Since my student days, I have liked the shape of bones, and have drawn them, studied them in the Natural History Museum, found them on sea-shores and saved them out of the stew pot.” Alongside the outdoor installations, the Shirley Sherwood Gallery presentation showcases Moore’s working process, emphasising what Kew describes as his practice of “thinking through nature”. The display includes loans from Tate and the Sainsbury Centre for Visual Arts, as well as works from Kew’s own collections, and culminates in a focus on Moore’s carved wood sculptures. Public programming includes After Hours events in June and July, transforming the Temperate House for performances marking the summer solstice, as well as family trails and limited-capacity sunset buggy tours of the exhibition. A parallel strand at Wakehurst, Sussex, titled Henry Moore and more, runs from 5 June 2026 to 23 May 2027 and presents four sculptures by Moore alongside contemporary commissions by Rana Begum, Rafael Pérez Evans and Paloma Varga Weisz. This is the Henry Moore season. Taken together, the Kew and Wakehurst presentations position Moore not only as a canonical modernist sculptor, but as an artist whose work is increasingly framed through ecological and environmental concerns. As Sebastiano Barassi of the Henry Moore Foundation notes, Moore’s “deep affinity with the natural world” makes these sites particularly resonant at a moment when questions of landscape, ecology and human intervention have become newly urgent. At Kew, however, the curatorial proposition remains primarily experiential. Sculpture is not isolated, but enhanced by weather, landscape and seasonal change. Published alongside the exhibition, the accompanying monograph positions nature as a structural and philosophical force within Moore’s practice, one that shaped his understanding of form, humanity, and the interdependence of living systems. Edited by Laura Bruni (Henry Moore Foundation), the publication brings together leading scholars and Kew experts across three thematic sections, tracing how Moore’s engagement with the natural world evolved across his career. Essays explore his work not only as sculpture, but as a broader inquiry into the connections between plant, animal, and human life. This remarkable book brings together more than 100 works, from monumental bronzes to drawings, maquettes, prints and carvings. The result is a richly illustrated volume that situates his work within ecological, anatomical, and philosophical frameworks, offering a fresh perspective on his evolving artistic language. Designed as both scholarly resource and visual compendium, the publication is conceived as a long-term reference for readers interested in Moore, modern sculpture, and the wider relationship between art and the natural world. – <img width="1024" height="682" data-attachment-id="36562" data-permalink="https://artisalive.co.uk/2026/06/10/henry-moore-monumental-nature-kew-gardens/henry-moore-large-two-forms/" data-orig-file="https://artisalive.co.uk/wp-content/uploads/2026/06/large-two-forms-1966-1969.-photo-ines-stuart-davidson.jpg" data-orig-size="8256,5504" data-comments-opened="1" data-image-meta="{"aperture":"8","credit":"Ines Stuart-Davidson","camera":"NIKON D850","caption":"Henry Moore - Large Two Forms at the top of Syon Vista","created_timestamp":"1777555651","copyright":"Royal Botanic Gardens, Kew","focal_length":"85","iso":"320","shutter_speed":"0.00625","title":"Henry Moore - Large Two Forms","orientation":"1","alt":""}" data-image-title="Henry Moore &#8211; Large Two Forms" data-image-description="" data-image-caption=" Henry Moore &#8211; Large Two Forms at the top of Syon Vista " data-large-file="https://artisalive.co.uk/wp-content/uploads/2026/06/large-two-forms-1966-1969.-photo-ines-stuart-davidson.jpg?w=940" src="https://artisalive.co.uk/wp-content/uploads/2026/06/large-two-forms-1966-1969.-photo-ines-stuart-davidson.jpg?w=1024" alt="" class="wp-image-36562" srcset="https://artisalive.co.uk/wp-content/uploads/2026/06/large-two-forms-1966-1969.-photo-ines-stuart-davidson.jpg?w=1024 1024w, https://artisalive.co.uk/wp-content/uploads/2026/06/large-two-forms-1966-1969.-photo-ines-stuart-davidson.jpg?w=2048 2048w, https://artisalive.co.uk/wp-content/uploads/2026/06/large-two-forms-1966-1969.-photo-ines-stuart-davidson.jpg?w=150 150w, https://artisalive.co.uk/wp-content/uploads/2026/06/large-two-forms-1966-1969.-photo-ines-stuart-davidson.jpg?w=300 300w, https://artisalive.co.uk/wp-content/uploads/2026/06/large-two-forms-1966-1969.-photo-ines-stuart-davidson.jpg?w=768 768w, https://artisalive.co.uk/wp-content/uploads/2026/06/large-two-forms-1966-1969.-photo-ines-stuart-davidson.jpg?w=1440 1440w" sizes="(max-width: 1024px) 100vw, 1024px" /> <img loading="lazy" width="1024" height="682" data-attachment-id="36561" data-permalink="https://artisalive.co.uk/2026/06/10/henry-moore-monumental-nature-kew-gardens/henry-moore-large-spindle-piece/" data-orig-file="https://artisalive.co.uk/wp-content/uploads/2026/06/4-large-spindle-piece-1968.-photo-ines-stuart-davidson.jpg" data-orig-size="8009,5339" data-comments-opened="1" data-image-meta="{"aperture":"2.5","credit":"Ines Stuart-Davidson","camera":"NIKON D850","caption":"","created_timestamp":"1776931960","copyright":"Royal Botanic Gardens, Kew","focal_length":"85","iso":"320","shutter_speed":"0.001","title":"Henry Moore - Large Spindle Piece","orientation":"1","alt":""}" data-image-title="Henry Moore &#8211; Large Spindle Piece" data-image-description="" data-image-caption="" data-large-file="https://artisalive.co.uk/wp-content/uploads/2026/06/4-large-spindle-piece-1968.-photo-ines-stuart-davidson.jpg?w=940" src="https://artisalive.co.uk/wp-content/uploads/2026/06/4-large-spindle-piece-1968.-photo-ines-stuart-davidson.jpg?w=1024" alt="" class="wp-image-36561" srcset="https://artisalive.co.uk/wp-content/uploads/2026/06/4-large-spindle-piece-1968.-photo-ines-stuart-davidson.jpg?w=1024 1024w, https://artisalive.co.uk/wp-content/uploads/2026/06/4-large-spindle-piece-1968.-photo-ines-stuart-davidson.jpg?w=2048 2048w, https://artisalive.co.uk/wp-content/uploads/2026/06/4-large-spindle-piece-1968.-photo-ines-stuart-davidson.jpg?w=150 150w, https://artisalive.co.uk/wp-content/uploads/2026/06/4-large-spindle-piece-1968.-photo-ines-stuart-davidson.jpg?w=300 300w, https://artisalive.co.uk/wp-content/uploads/2026/06/4-large-spindle-piece-1968.-photo-ines-stuart-davidson.jpg?w=768 768w, https://artisalive.co.uk/wp-content/uploads/2026/06/4-large-spindle-piece-1968.-photo-ines-stuart-davidson.jpg?w=1440 1440w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /> <img loading="lazy" width="1024" height="682" data-attachment-id="36563" data-permalink="https://artisalive.co.uk/2026/06/10/henry-moore-monumental-nature-kew-gardens/henry-moore-large-totem-head/" data-orig-file="https://artisalive.co.uk/wp-content/uploads/2026/06/1-large-totem-head-1968.-photo-ines-stuart-davidson.jpg" data-orig-size="8256,5504" data-comments-opened="1" data-image-meta="{"aperture":"3.5","credit":"Ines Stuart-Davidson","camera":"NIKON D850","caption":"","created_timestamp":"1776938518","copyright":"Royal Botanic Gardens, Kew","focal_length":"85","iso":"320","shutter_speed":"0.00125","title":"Henry Moore - Large Totem Head","orientation":"1","alt":""}" data-image-title="Henry Moore &#8211; Large Totem Head" data-image-description="" data-image-caption="" data-large-file="https://artisalive.co.uk/wp-content/uploads/2026/06/1-large-totem-head-1968.-photo-ines-stuart-davidson.jpg?w=940" src="https://artisalive.co.uk/wp-content/uploads/2026/06/1-large-totem-head-1968.-photo-ines-stuart-davidson.jpg?w=1024" alt="" class="wp-image-36563" srcset="https://artisalive.co.uk/wp-content/uploads/2026/06/1-large-totem-head-1968.-photo-ines-stuart-davidson.jpg?w=1024 1024w, https://artisalive.co.uk/wp-content/uploads/2026/06/1-large-totem-head-1968.-photo-ines-stuart-davidson.jpg?w=2048 2048w, https://artisalive.co.uk/wp-content/uploads/2026/06/1-large-totem-head-1968.-photo-ines-stuart-davidson.jpg?w=150 150w, https://artisalive.co.uk/wp-content/uploads/2026/06/1-large-totem-head-1968.-photo-ines-stuart-davidson.jpg?w=300 300w, https://artisalive.co.uk/wp-content/uploads/2026/06/1-large-totem-head-1968.-photo-ines-stuart-davidson.jpg?w=768 768w, https://artisalive.co.uk/wp-content/uploads/2026/06/1-large-totem-head-1968.-photo-ines-stuart-davidson.jpg?w=1440 1440w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /> <img loading="lazy" width="683" height="1024" data-attachment-id="36564" data-permalink="https://artisalive.co.uk/2026/06/10/henry-moore-monumental-nature-kew-gardens/henry-moore-monumental-nature-royal-botanic-gardens-kew/" data-orig-file="https://artisalive.co.uk/wp-content/uploads/2026/06/double-oval-1966.-photo-jeff-eden.jpg" data-orig-size="5504,8256" data-comments-opened="1" data-image-meta="{"aperture":"22","credit":"RBG Kew / Jeff Eden","camera":"NIKON D850","caption":"Henry Moore Monumental Nature, Royal Botanic Gardens, Kew","created_timestamp":"1777557999","copyright":"Jeff Eden / RBG Kew","focal_length":"26","iso":"200","shutter_speed":"0.025","title":"Henry Moore Monumental Nature, Royal Botanic Gardens, Kew","orientation":"1","alt":""}" data-image-title="Henry Moore Monumental Nature, Royal Botanic Gardens, Kew" data-image-description="" data-image-caption=" Henry Moore Monumental Nature, Royal Botanic Gardens, Kew " data-large-file="https://artisalive.co.uk/wp-content/uploads/2026/06/double-oval-1966.-photo-jeff-eden.jpg?w=683" src="https://artisalive.co.uk/wp-content/uploads/2026/06/double-oval-1966.-photo-jeff-eden.jpg?w=683" alt="" class="wp-image-36564" style="width:683px;height:auto" srcset="https://artisalive.co.uk/wp-content/uploads/2026/06/double-oval-1966.-photo-jeff-eden.jpg?w=683 683w, https://artisalive.co.uk/wp-content/uploads/2026/06/double-oval-1966.-photo-jeff-eden.jpg?w=1366 1366w, https://artisalive.co.uk/wp-content/uploads/2026/06/double-oval-1966.-photo-jeff-eden.jpg?w=100 100w, https://artisalive.co.uk/wp-content/uploads/2026/06/double-oval-1966.-photo-jeff-eden.jpg?w=200 200w, https://artisalive.co.uk/wp-content/uploads/2026/06/double-oval-1966.-photo-jeff-eden.jpg?w=768 768w" sizes="auto, (max-width: 683px) 100vw, 683px" />
Madonna releases Confessions II, the Film
LANZA atelier’s crinkle-crankle wall for the Serpentine Pavilion
For the 25th Serpentine Pavilion, Mexico City–based LANZA atelier has transformed one of architecture’s oldest elements, the brick […]
For the 25th Serpentine Pavilion, Mexico City–based LANZA atelier has transformed one of architecture’s oldest elements, the brick wall, into a contemporary framework for gatherine. Titled a serpentine, the project reinterprets the historic crinkle-crankle wall, a centuries-old masonry typology found in Suffolk gardens, as a porous and dynamic social space. Rather than treating the wall as a boundary, architects Isabel Abascal and Alessandro Arienzo deploy it as a tool that shapes movement, and encourages interaction. An elegant gently curving brick structure, paired with a translucent canopy and rhythmic colonnades, creates an environment where light, air and people flow freely between cocooning and landscape. Opening at the Serpentine last week, the Pavilion reflects LANZA atelier’s longstanding interest in vernacular forms, craft traditions and collective experience. Founded in 2015, the Mexico City practice has built a reputation for projects that explore the relationship between material culture, climate and social life, often revisiting historical typologies through a contemporary lens. And promoting beauty! At a moment when architecture is frequently defined by spectacle, a serpentine offers a quieter proposition. Drawing inspiration from England’s winding fruit walls, structures designed to create shelter, regulate climate and support growth, the Pavilion foregrounds the environmental and social intelligence embedded within traditional construction methods. More than a temporary structure, a serpentine proposes architecture as a relational condition rather than a static object. In an age marked by social fragmentation and environmental uncertainty, LANZA atelier suggests that architecture’s most radical gesture may not be spectacle, but openness: a wall that connects rather than divides, and a space that invites people to come together. A gesture. What was your reaction when you were first asked to design the Serpentine Pavilion? We were deeply honoured for the opportunity to share our work with a wider audience and advance the commission’s legacy of experimentation. We also felt committed to showcasing architecture as a tool to improve our surrounding. We see this commission as an opportunity for the wider public to focus on architecture. We would like visitors to relate to the idea that we all dwell and are all somehow connected to architecture, and therefore we can all reflect on what kind of architecture we need amidst the world’s ecological crisis to foreground gathering and collective experience. When did you first become aware of the Pavilion Commission and what did you think about it? IA: I first heard of the Serpentine Pavilion in 2002, the year I started architecture school. Toyo Ito had completed a fully aluminum-framed house a couple of years prior and I had come across it in a magazine so I became interested in Toyo Ito’s work, especially the Médiatèque in Sendai and the Pao for the Tokyo Nomad Girl. Soon after I discovered his design with Cecil Balmond for the 2002 Serpentine Pavilion. AA: For me, Frank Gehry’s Pavilion in 2008 was the first one I was aware of. I didn’t know much about architecture at the time. I will always remember how astonished I was by the complexity and the ugliness… Now I can relate to the pursuit of beauty behind Gehry´s concepts and vision. RIP. The Serpentine Pavilion is a much-anticipated landmark in London each summer. How does it feel to be designing a structure so central to The Royal Parks? Being in such an idyllic context as Kensington Gardens we feel it is the perfect time to discuss what the idea of a garden means and how an English garden is related to historical elements of architecture and ancient materiality. Many authors refer to the etymology of paradise which comes from the Avestan word pairidaeza. Theyinterpret this term, which is composed of pairi (around) and daeza (wall), as refering to a garden surrounded by walls. Instead, we like to consider that in the encounter between around and wall, a compelling concept arises: the place that happens around a wall. From our architectural perspective, paradise arises in the balance between human intervention and the natural context around it. Each Serpentine Pavilion is unique. What makes your Pavilion unique? Tell us about your inspiration. As we were working on our proposal for the Serpentine Pavilion, we naturally came across an English architectural feature also called serpentine. This is the crinkle-crankle wall, a type of brick wall with alternating curves that originated in Ancient Egypt and was brought to the UK by Dutch engineers as far back as the 17th century. By virtue of its sinuous shape, the serpentine wall is recognized for requiring fewer bricks than a straight wall, as its winding geometry introduces lateral support to an otherwise flimsy one brick wide structure. In the hands of gardeners and built on an East-West axis, these elements become fruit-walls that soak up the heat from the southern exposure and release it at night, providing a warm agricultural environment. The structure employs less while providing more, which is a timely lesson for our current era of overconsumption. It’s quite magical that the same word gives name to a water feature, a lake, to a place, Serpentine, and to an architectural element, a wall. Especially considering the powerful place that the serpent holds in Mesoamerican cosmology. This is the first time that a Serpentine Pavilion actually revolves around the serpentine. How does your design for the Serpentine Pavilion relate to other projects that you’re working on, to your previous projects? We started our practice doing exhibition design. These were ephemeral projects with a high degree of freedom for material and structural experimentation because we were putting up structures that were going to be taken down after some months, so the museums and cultural spaces felt comfortable letting us do things that had not been done before. Since then, we have pursued a certain degree of experimentation through our more permanent projects as well. We try to push the boundaries of our practice with every project. a serpentine is definitely inscribed in this line of thinking. In recent years, we have accomplished several projects using brick, like the Forest House (2019) in which an organic white brick wall adapts to the positions of pre-existing trees and sometimes operates as a corridor and sometimes as a lattice to delimit an area within nature; and the 1973-2021 installation at Concéntrico (2021) in which we worked with exposed red brick, a material representative of social interest architecture in Spain, stacked without using mass so that at the end of the festival more than 90% of the bricks were dismantled and effectively reused. We like how brick is made of earth, of clay, its thermal mass and how it is just the right size to fit in one hand so it ultimately refers to the human body. What materials have you used in your Pavilion and why? We are using brick walls, made from clay, to highlight artisanal construction methods as tried-and-true technologies for our collective present. But these walls, rather than monumental and opaque, are permeable and unapologetically graceful. They reveal the power of walls not to divide, but to bring together. For instance, the brick columns that constructs these walls, hasat least a 10mm gap between them so people can see through a surface that is traditionally opaque, and eventually gazes can connect. Brick is an ancient material that carries the history of the first cities humanity built. The earliest examples of large-scale religious, institutional, and residential architecture were created with earth in Mesopotamia. Those sun-dried mud bricks, and later fired clay bricks, have lasted for millennia. This is a material with an extremely long lifespan that can consequently reduce the amount of debris we produce. We extend the use of brick from the walls to the floor, which for us is a surface just as important as the vertical ones. The built-in furniture, such as the café bar and public bench, is also created by stacking bricks to demonstrate the versatility of the module. We try to focus on one primary material for each project, to explore all possible uses. The roof is translucent to allow for sunlight, so it is created with a spatial steel grid plus polycarbonate, and filtered with composite fabric Eco-Bau fins. The marriage of traditional artisanal craft with high-performance technological materials is a contrast we welcome. What is your preferred way of working: do you draw, make models and use CAD? AA: We use all three. We always start by drafting the site by hand, and during this process we get intuitive about certain things. In our process this initially naive intuition is fed with more complexity: programme, materials, climate and of course the client’s input. We always make simple physical models too, which suffer a bunch of modifications while the projects mature. Having the drawings and models present at the studio we can closely observe them and realise what element is missing or, even more importantly, which element is superfluous. We like to find one idea that can organise the whole project. At a certain point we start drawing in CAD and then print and trace again. We are very cautious with what we draw. As architects we should be able to build less and simpler, I think. The drawings we produce should express these concepts. For us, the drawing is as important as the building. IA: We love to have material samples around the studio and play around with 1 to 1 prototypes. We also do onsite research which is mainly based on field drawings and annotations, later transformed into written essays. Thus, we see everything we do as essays or explorations through which we keep expanding. How do you anticipate people using the Pavilion, what do you hope visitors will take away from their experience? IA: While we have planned for some places to sit or observe, we know that visitors will surprise us with their interaction with the space and that is exciting. We very much look forward to the Live Programme consisting of Park Nights, Family Days and other events. We can’t anticipate how the performers, musicians, poets, and artists will use the space and that is one of the beautiful things that architecture can accomplish, being able to host the unpredictable. AA: I wish for the unexpected… I do think the brick material is going to be well received well; it’s a material we all have a relation to. But the way we are using it this time is so specific that we expect people to resonate with it. Materiality will be very present and we are excited about that. Do you feel that being commissioned by the Serpentine will strengthen the international visibility of your practice? And could we also discuss what designing a Serpentine Pavilion means to you, in particular, the significance or relevance of creating a building in the UK? We know this commission will allow our practice to grow in many different ways. We hope to reinforce LANZA’s presence in Europe and beyond. The opportunity to work in new and challenging contexts excites us. Working in London for the first time means establishing a connection between our Latin American context and European and Ancient Egyptian architectural heritage. Your Pavilion will be the 25th Pavilion – how do you feel about this iconic moment in history? We believe this iconic anniversary can amplify some of the implicit messages of our Pavilion. We would like to encourage the global architectural community to be as clever as the Serpentine wall by virtue of its unexpected shape which employs fewer materials than a straight wall and is stronger, more stable. We are also adding our own voice to 24 previous voices that have left their mark on the Serpentine lawn, thereby creating a collage of the architecture of the first quarter of the 21st century and that is very beautiful. – <img loading="lazy" width="1024" height="682" data-attachment-id="36536" data-permalink="https://artisalive.co.uk/2026/06/08/lanza-ateliers-crinkle-crankle-wall-for-the-serpentine-pavilion/default-2/" data-orig-file="https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_aerial-view_6_1989-1501x1001-1.jpg" data-orig-size="1501,1001" data-comments-opened="1" data-image-meta="{"aperture":"2.8","credit":"","camera":"FC4382","caption":"default","created_timestamp":"1780424919","copyright":"Please contact Iwan Baan before usage","focal_length":"19.35","iso":"170","shutter_speed":"0.066666666666667","title":"default","orientation":"1","alt":""}" data-image-title="default" data-image-description="" data-image-caption=" default " data-large-file="https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_aerial-view_6_1989-1501x1001-1.jpg?w=940" src="https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_aerial-view_6_1989-1501x1001-1.jpg?w=1024" alt="" class="wp-image-36536" srcset="https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_aerial-view_6_1989-1501x1001-1.jpg?w=1024 1024w, https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_aerial-view_6_1989-1501x1001-1.jpg?w=150 150w, https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_aerial-view_6_1989-1501x1001-1.jpg?w=300 300w, https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_aerial-view_6_1989-1501x1001-1.jpg?w=768 768w, https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_aerial-view_6_1989-1501x1001-1.jpg?w=1440 1440w, https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_aerial-view_6_1989-1501x1001-1.jpg 1501w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /> <img loading="lazy" width="1024" height="682" data-attachment-id="36538" data-permalink="https://artisalive.co.uk/2026/06/08/lanza-ateliers-crinkle-crankle-wall-for-the-serpentine-pavilion/serpentine-pavilion-2026_interior-view_4_1663-1501x1001/" data-orig-file="https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_interior-view_4_1663-1501x1001-1.jpg" data-orig-size="1501,1001" data-comments-opened="1" data-image-meta="{"aperture":"9","credit":"Iwan Baan","camera":"Canon EOS R5m2","caption":"","created_timestamp":"1780423757","copyright":"Please contact Iwan Baan before usage","focal_length":"19","iso":"800","shutter_speed":"0.008","title":"","orientation":"1","alt":""}" data-image-title="Serpentine-Pavilion-2026_Interior-View_4_1663-1501&#215;1001" data-image-description="" data-image-caption="" data-large-file="https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_interior-view_4_1663-1501x1001-1.jpg?w=940" src="https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_interior-view_4_1663-1501x1001-1.jpg?w=1024" alt="" class="wp-image-36538" srcset="https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_interior-view_4_1663-1501x1001-1.jpg?w=1024 1024w, https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_interior-view_4_1663-1501x1001-1.jpg?w=150 150w, https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_interior-view_4_1663-1501x1001-1.jpg?w=300 300w, https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_interior-view_4_1663-1501x1001-1.jpg?w=768 768w, https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_interior-view_4_1663-1501x1001-1.jpg?w=1440 1440w, https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_interior-view_4_1663-1501x1001-1.jpg 1501w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /> <img loading="lazy" width="1024" height="682" data-attachment-id="36539" data-permalink="https://artisalive.co.uk/2026/06/08/lanza-ateliers-crinkle-crankle-wall-for-the-serpentine-pavilion/serpentine-pavilion-2026_exterior-view_1_1576-1501x1001/" data-orig-file="https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_exterior-view_1_1576-1501x1001-1.jpg" data-orig-size="1501,1001" data-comments-opened="1" data-image-meta="{"aperture":"9","credit":"Iwan Baan","camera":"Canon EOS R5m2","caption":"","created_timestamp":"1780421911","copyright":"Please contact Iwan Baan before usage","focal_length":"21","iso":"800","shutter_speed":"0.0025","title":"","orientation":"1","alt":""}" data-image-title="Serpentine-Pavilion-2026_Exterior-View_1_1576-1501&#215;1001" data-image-description="" data-image-caption="" data-large-file="https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_exterior-view_1_1576-1501x1001-1.jpg?w=940" src="https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_exterior-view_1_1576-1501x1001-1.jpg?w=1024" alt="" class="wp-image-36539" srcset="https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_exterior-view_1_1576-1501x1001-1.jpg?w=1024 1024w, https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_exterior-view_1_1576-1501x1001-1.jpg?w=150 150w, https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_exterior-view_1_1576-1501x1001-1.jpg?w=300 300w, https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_exterior-view_1_1576-1501x1001-1.jpg?w=768 768w, https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_exterior-view_1_1576-1501x1001-1.jpg?w=1440 1440w, https://artisalive.co.uk/wp-content/uploads/2026/06/serpentine-pavilion-2026_exterior-view_1_1576-1501x1001-1.jpg 1501w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /> Images: Isabel Abascal and Alessandro Arienzo of LANZA atelier. Photo: © Pia Riverola. and Serpentine Pavilion 2026 a serpentine, designed by Isabel Abascal and Alessandro Arienzo, LANZA atelier. Exterior view © LANZA atelier, Photo Iwan Baan, Courtesy Serpentine.
Tête-à-Tête: Joan Miró & Pablo Picasso at Nahmad Projects, London
At Nahmad Projects, a new exhibition brings together two of modernism’s most defining figures in a focused dialogue: […]
At Nahmad Projects, a new exhibition brings together two of modernism’s most defining figures in a focused dialogue: Joan Miró and Pablo Picasso. Titled Tête-à-tête, the show runs to 17 July 2026 in Mayfair. Perfectly timed for the London Gallery Weekend. The exhibition revisits one of the most enduring artistic relationships of the 20th century, rooted in shared Catalan origins, mutual admiration, and a lifelong exchange of ideas. Picasso and Miró, though radically different in temperament and style, sustained a creative dialogue that shaped both of their practices across decades. Picasso’s restless reinvention of form and perspective finds a counterpoint in Miró’s dreamlike visual language, where symbols, constellations, and biomorphic shapes drift across the canvas like private mythologies. Together, their work frames a broader story of modern art’s break from tradition, one driven as much by friendship and influence as by formal experimentation. Rather than staging direct comparison, Tête-à-tête emphasises proximity. Works are placed in conversation to highlight contrasts in approach: Picasso’s fractured, analytical Cubism against Miró’s poetic abstraction, grounded in intuition and subconscious rhythm. The result is less a confrontation than a sustained echo between two artistic worlds that continuously overlapped. The exhibition also revisits the idea of painting as dialogue rather than statement, an evolving exchange between two artists who repeatedly challenged and inspired each other. What emerges is a portrait not only of two figures, but of modernism itself as a space of connection, tension, and transformation. The exhibition is on view in the stunning space of Nahmad Projects, 2 Cork Street, London.
Christopher Barraja at Saint Laurent Babylone
At Saint Laurent Babylone in Paris, Daydreaming of Him presents a new photographic series by French-Australian artist Christopher […]
At Saint Laurent Babylone in Paris, Daydreaming of Him presents a new photographic series by French-Australian artist Christopher Barraja, curated by Anthony Vaccarello. On view to 13 September 2026, the exhibition extends the house’s ongoing interest in contemporary image-making and sensual modernity. Saint Laurent are now also sponsoring film-making. Born in 1996 and working between Paris and Nice, Barraja builds a visual language rooted in Mediterranean light, queer contemporary culture, and the emotional instability of memory. For him, Nice becomes less a place than a state of escape—soft, fragmented, and charged with nostalgia. A graduate of the École nationale supérieure des Arts Décoratifs de Paris, Barraja first gained attention with De Chlore et de Rosé, published by Fisheye Éditions in 2023, which earned the Picto Prize and led to his selection as a Hyères Festival finalist in 2022. In Daydreaming of Him, images unfold through suggestion rather than clarity. Figures appear partial, gestures unresolved, and scenes suspended in a humid, almost cinematic haze. Desire is never explicit but implied, diffused across light, skin, and landscape. The environments are subtle, and express ideas of desire and carelessness. The result is a body of work that hovers between intimacy and distance, where memory feels unstable and meaning remains deliberately open. Across the exhibition, looking becomes projection, and photography a space for meditation. All works are available for sale, alongside a limited edition of one hundred signed fanzines, extending Barraja’s atmospheric world into a collectible form. – <img loading="lazy" width="683" height="1024" data-attachment-id="36517" data-permalink="https://artisalive.co.uk/2026/06/07/christopher-barraja-at-saint-laurent-babylone/slrd_christopher-barraja_exhibition_02/" data-orig-file="https://artisalive.co.uk/wp-content/uploads/2026/06/slrd_christopher-barraja_exhibition_02.jpg" data-orig-size="2400,3600" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0","alt":""}" data-image-title="SLRD_CHRISTOPHER BARRAJA_EXHIBITION_02" data-image-description="" data-image-caption="" data-large-file="https://artisalive.co.uk/wp-content/uploads/2026/06/slrd_christopher-barraja_exhibition_02.jpg?w=683" src="https://artisalive.co.uk/wp-content/uploads/2026/06/slrd_christopher-barraja_exhibition_02.jpg?w=683" alt="" class="wp-image-36517" srcset="https://artisalive.co.uk/wp-content/uploads/2026/06/slrd_christopher-barraja_exhibition_02.jpg?w=683 683w, https://artisalive.co.uk/wp-content/uploads/2026/06/slrd_christopher-barraja_exhibition_02.jpg?w=1366 1366w, https://artisalive.co.uk/wp-content/uploads/2026/06/slrd_christopher-barraja_exhibition_02.jpg?w=100 100w, https://artisalive.co.uk/wp-content/uploads/2026/06/slrd_christopher-barraja_exhibition_02.jpg?w=200 200w, https://artisalive.co.uk/wp-content/uploads/2026/06/slrd_christopher-barraja_exhibition_02.jpg?w=768 768w" sizes="auto, (max-width: 683px) 100vw, 683px" />
Anne Imhof’s live poetry at Sprüth Magers
There is a persistent tension running through Anne Imhof’s practice between movement and physicality. Across performance, painting, sculpture […]
There is a persistent tension running through Anne Imhof’s practice between movement and physicality. Across performance, painting, sculpture and film, the body remains her primary subject, not simply as a physical presence, but as a site of projection, surveillance, vulnerability and resistance. These questions underpin Citizen, Anne Imhof’s new solo exhibition at Sprüth Magers London, presented during London Gallery Weekend and running until 1st August. Bringing together a new body of paintings, sculptures, drawings and film, the exhibition extends concerns explored in her recent projects DOOM: House of Hope and Fun ist ein Stahlbad, both realised in 2025. If those works examined collective experience through choreographed encounters and charged environments, Citizen distills many of the same themes into objects that continue to pulse with latent movement. The exhibition is anchored by a series of large-scale Wave paintings, works that appear suspended between emergence and dissolution. Built through layers of accumulated marks, they resist fixed interpretation, their surfaces oscillating between abstraction and image. Like much of Imhof’s work, they seem to register a state of becoming rather than arrival, holding viewers in a moment of unresolved tension. Elsewhere, site-specific sculptures made from crowd-control barriers introduce the language of public space and social organisation. Familiar as instruments of direction and restriction, these structures carry the memory of gatherings, demonstrations, concerts and queues. Removed from their functional context, they become charged symbols of access and exclusion, subtly shaping the movement of bodies through the gallery itself. A new four-channel film expands these concerns, returning to Imhof’s long-standing interest in choreography, spectatorship and collective behaviour. The moving image has always occupied a complex position within her practice, acting not as documentation but as another arena in which bodies perform, linger and disappear. Here, the film resonates with the surrounding works, creating an environment in which the distinctions between object, image and action begin to blur. Among the exhibition’s most striking works is a monumental diptych depicting a head. Enlarged from an earlier drawing and developed through dense layers of mark-making, the painting signals a significant shift within Imhof’s figurative vocabulary. The image emerges gradually from the surface, as though pulled from memory rather than observation. Its scale lends it an almost confrontational presence, yet it remains elusive, resisting psychological resolution. These figures draw on a range of art-historical precedents, but one lineage feels particularly resonant: the danse macabre, the medieval tradition in which figures from every social class are led in a dance toward death. In those works, mortality functions as the great equaliser, collapsing distinctions of status and power. Imhof’s engagement with this history is less illustrative than atmospheric. Her figures appear caught between appearance and disappearance, presence and absence, embodying a contemporary awareness of impermanence. Throughout Citizen, the question is not simply how to represent the body, but how to give form to what cannot be fixed. Imhof’s works remain animated by movement even when still, carrying traces of actions, encounters and emotions that have already passed. They operate as containers for experience while acknowledging the impossibility of fully preserving it. In an age increasingly defined by images that circulate instantly and vanish just as quickly, Citizen offers a different proposition. It asks what remains after the event, after the crowd disperses, after the body leaves the room. The answer, Imhof suggests, may lie not in permanence itself but in the traces that persist: marks on a surface, barriers in space, a face emerging from darkness, and the lingering sensation of having witnessed something that refuses to settle. Image: Anne Imhof, Grey Wave, 2025.