Taliesin Gilkes-Bower, Wrong Earth (3025) at Goldsmiths, University of London, London
Wrong Earth (3025) by Taliesin Gilkes-Bower, at Goldsmiths, University of London, London, 17/07/2025–22/07/2025. We’re in the year 3025, perhaps, or in a time-dislocated scenario where a lone body moves through debris and leftover devices, trying to decipher a message left hanging in the air. In
Martins Kohout, Leaving the house with an open fire, but briefly at MeetFactory, Prague
Leaving the house with an open fire, but briefly by Martins Kohout, curated by Ján Gajdušek, at MeetFactory, Prague, 30/10/2025–11/01/2026. There’s something deeply restless about leaving the house with a fire still burning inside, we’ve all felt the hesitation, that flicker of doubt at the
Christa Joo Hyun D’Angelo, Mads Hyldgaard Nielsen, Sally von Rosen, Pain of Pleasure at Tempesta gallery, Milan
Christa Joo Hyun D’Angelo, Mads Hyldgaard Nielsen, Sally von Rosen, Pain of Pleasure at Tempesta gallery, Milan. Pleasure is never innocent. It arrives charged, volatile, already shadowed by its inversion. One feels this immediately, even before stepping into Pain of Pleasure, not a contradiction,
Luca Lo Pinto, The Screen is a Muscle. In conversation with Matteo Giovanelli
During Artissima, in collaboration with the fair, Gallerie d’Italia opened The Screen is a Muscle, an exhibition curated by Luca Lo Pinto, who brought his transversal approach into the space, conceiving the group show as a choreography with short videos by Bruce Conner, Low Jack & Invernomuto,
Fakewhale in Dialogue with NONOTAK Studio
Over the past decade, NONOTAK Studio has redefined the relationship between light, sound, and space, transforming architectural environments into kinetic organisms that breathe, react, and multiply perceptually. From their early audiovisual performances to their most recent monumental installations,
Not Meanings but Intentions – The Work Before Sense
Maybe we’ve overestimated the importance of meaning. Or rather: we’ve overestimated its necessity. Contemporary narrative,whether aimed at a broad audience or a niche one, too often moves within a space where everyone seems to search for a semantic harbor, a safe landing, as if every work were r
