“Utopia is a necessary dream. But also an inevitable nightmare.” We walk into Chino Moya’s exhibition with this thought in mind, perhaps a distortion of some dystopian author’s words, or maybe just our own cynical synthesis. Because every time we are presented with a vision of the future, es

[Curating is everywhere, but not as we have known it: for some time it has been an undead, a zombie, in which the established language, thinking, meanings and values of curating now stand as an obstacle to grasping the potential condition and possibilities of action. Trying to overcome the notion of

We don’t know who first said, “Objects don’t die; they transform.” It almost sounds like a poetic version of the law of conservation of mass. But standing before Michael E. Smith’s exhibition at Crèvecœur Gallery in Paris, this phrase takes on an unexpectedly tangible meaning, giving ris

Formas Aparte by Alejandro Leonhardt, Valerie Krause, Dora Budor, Nina Beier, Grant Mooney, Nora Turato, Álvaro Urbano, Kate Mosher Hall, Matt Browning, and Wolfgang Tillmans, curated by Franklin Melendez, at GATO Gallery, Lima, 12.12.2024–21.02.2025. Exhibition text:Over time, the city grows upo

A Cubicle, Terminal by Morgane Billuart, Meltem Rukiye Calisir, Xin Huang, Martin Rovan, Paul Seipel, Melanie Sien Min Lyn, Sam Stewart, Twins Corporated, Lourenço Soares, Zein Majali, Zhan Shu, and Lil Clearpill, curated by Helena McFadzean, at Schwindel LLC, Vienna, 14.11.2024–24.11.2024. Exhib

Andrin Winteler has masterfully combined photography, digital processes, and installation art to challenge the boundaries of perception and the authenticity of representation. His work delves into the interplay between physical objects and their digital counterparts, exploring themes like mobility,

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