Rooted in the Guggenheim Museum Bilbao’s Environmental Sustainability Strategic Framework, the exhibition Arts of the Earth offers a reinterpretation of the environmentally inspired art of the past decades. In addition to providing a new diverse multidisciplinary map of artistic forms, this exhibition also seeks to offer an inventory of tools, possibilities, and futures. Arts of the Earth adopts our current concern for the health of our planet, and specifically for the survival of soil as moldable, living matrix, as the cornerstone of a journey through artistic expressions crossing all geographies. It is an itinerary that connects artifacts made of earth, wood, leaves, roots, and plants—ancestral mediums that have once again risen to importance today—with the earthly interventions of recent decades that have come to be known as Land Art or Earthworks, including living anti-monuments erected in remote places, at times ephemeral, the marks of which we interpret today as prophecies of the Anthropocene.

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Like a Dance of Starlings explores the emergence of a pervious being that can spread its wings and wield its subjectivity as a liberating force to open up spaces for new ways of being and acting in the world.

They fly in groups. Hundreds of thousands of birds moving in unison across the winter sky. Precisely choreographed, they twist and turn, swirl and swoop, forming vast pulsing swarms: the dance of the starlings. No one can predict what their next move will be—not even the birds themselves know where they will be flying in the next few seconds. The result is a perfectly synchronised aerial ballet. And it is with these unique aerial dances in mind that we have designed our direct, twofold approach to the MACBA Collection: celebrating its thirtieth anniversary while also reflecting on contemporary processes of subjectivation. Echoing how a flock of starlings’ synchronised moves conjure up a billowing cloud of ever shifting images—a display known as a murmuration—the works in the collection also adjust and regroup with each new presentation, revealing different nodes or maps of meaning.

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In 2002, Raimond Chaves stumbled across a vinyl record at a flea market in Lima, Peru. An image of his family featured on the record sleeve. The album was produced in the late 1960s by Discos Chaves, a label owned by Chaves’ uncle in the city of Pasto, Colombia. The discovery prompted an ongoing search for second-hand records at markets across Latin America, the Caribbean and the United States. On his choice of albums, Chaves notes that he is ‘more interested in what appears on the covers than in the music they contain’.

In El Toque Criollo, ‘The “Criollo” Touch’, Chaves displays these collected record sleeves together with his own commentaries and excerpts of lyrics and political speeches. Arranged in 19 groupings, the artist creates a narrative that addresses subjects including migration, social inequality, gender politics, drug trafficking, guerrilla conflict, art history and the impact of globalisation. ‘Most of the images don’t explicitly tell these stories’, the artist notes, ‘but still let them be inferred.’

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Walter Benjamin ha muerto (Walter Benjamin Is Dead), Dora García’s current exhibition at the Galería Elba Benítez, might be thought of as embodying this particular and peculiar verb tense. The exhibition takes as its starting point García’s “reading” of the lives and words of a small group of radical 20th-century intellectual and cultural figures: Asja Lācis, the Latvian theater director and pedagogue; Carla Lonzi, the Italian art critic and feminist; Alejandra Pizarnik, the Argentinian poet; and (somewhat more obliquely and yet still centrally) the German theorist and critic Walter Benjamin. From these figures of the past, and in keeping with her own distinctive artistic practice, García has created a series of interrelated works in various text- and drawing-based formats, including wall and floor drawings, drawings on paper, and mixed-media objects. But while grounded in intellectual history, García’s own practice is not one of intellectual biography; instead, in creating the art works on view in Walter Benjamin ha muerto, García’s own “reading” (and writing) of the readings and writings of these historical figures has become part of the story of history, a history that extends (and cannot not extend) to include García herself and the present she (along with us) inhabits. As always, a portrait reveals as much about the portrayer as the portrayed.

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To celebrate the fifteenth anniversary of The Blank, the historic Palazzo della Ragione in Bergamo hosts That Person’s Heaven, a solo exhibition by American artist Matt Mullican, curated by Stefano Raimondi. Through his distinctive vocabulary of symbols, colors, and visual codes, Mullican creates a universe where mind and matter intertwine. Conceived specifically for Palazzo della Ragione, the large-scale installation features a 16×16-meter grid composed of thirty-two equally sized works, half painted in black and white, half in red, transforming the space into an immersive perceptual field. Silence plays a central role in Mullican’s artistic practice. It is not an absence, but a presence that deepens introspection and heightens the viewer’s perceptual awareness. Within this quiet dimension, images, symbols, and subconscious memories emerge, giving form to an inner landscape.

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Atender al vértigo de las imágenes, como propone esta exposición, no pasa por trazar una suerte de recorrido temático. Por el contrario, los proyectos que la articulan activan otras maneras de mirar, de imaginar y de estar con las imágenes, para, desde ahí, revisar críticamente la experiencia que conforma nuestra relación con ellas, sin obviar las complejidades que pautan su condición en la actualidad. La invitación es, pues, a explorar cómo las imágenes configuran lo visible y lo pensable, reconociendo su fuerza para desestabilizar lo que se presenta como natural o inevitable. En este sentido, la propuesta curatorial responde al desafío de seguir pensando en la fotografía y lo fotográfico, aunque sin la limitación que supondría circunscribirse a una modalidad específica o centrarse exclusivamente en su dimensión técnica más reciente. Partiendo del carácter vinculante que caracteriza a las imágenes, y al hilo de las argumentaciones desarrolladas por la filósofa Andrea Soto Calderón, la exposición se organiza en torno a un conjunto de trabajos que, desde distintos enfoques y zonas de interés, contribuyen a desplazar la noción de imagen de una dimensión objetual a otra experiencial y performativa. Como apunta Soto Calderón, no vemos las imágenes como vemos los objetos, sino a través de ellas. No obstante, la importancia capital de este desvío no ha sido todavía suficientemente destacada.

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“ Los alambristas” es un repaso no cronológico por 24 años de una trayectoria conjunta, que se inició a la par con las dinámicas de la globalización que dieron forma al arte contemporáneo, y a una vida oscilante entre euforia, violencia, precariedad e incertidumbre. La materialidad misma de los trabajos reunidos, o su inmaterialidad, invita a dilucidar el carácter de las imágenes; a cuestionar las lógicas del sistema del arte local; a enfrentar los procesos de abstracción que dan forma al mundo hoy en día; y a cómo pasar de un contexto a otro sin perder ni el aliento ni el equilibrio. Chaves y Mantilla exponen juntos en Lima por primera vez en seis años; mientras tanto, individualmente, la obra de Gilda Mantilla es antologada en “Transgresoras. Art and Messages, 1960s-2020s”, en el California Museum of Photography, y la Tate Modern presenta “EL TOQUE CRIOLLO” de Raimond Chaves. Juntos son mucho más que dos. 

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An event series dedicated to music, art and foolishness. Featuring “Pop Art” , Koenraad Dedobbeleer’s performance lecture, presented within a setting of his own design, including works on paper by Damien De Lepeleire.

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As part of this year’s project, inspired by Plečnik’s legacy and intertwined with contemporary art, we have invited the renowned Mexican artist Iñaki Bonillas and the internationally engaged Slovenian curator Tevž Logar to collaborate. The central theme of Bonillas’s intervention and exhibition is memory and its architectural reconstruction, through which we resist forgetting.

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Stemming from the artist’s interest in navigating the peculiarities of urban space and the relationship they foster between painting, graffiti, body and writing, Ambush #16: LUCE is conceived as a collective pictorial action. Resonating with the unfinished nature of Bosc’s architecture, the workshop will lead to the collective manufacture of tools and prosthetics for an intervention in the building’s courtyard: helmets, paintbrushes, stilts and sponges will allow participants to paint on certain hard-to-reach surfaces forcing them to “develop gestures that challenge the usual verticality of painting.”

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What is art? Where does it begin and end? Who decides what art is? What makes an artist? These fundamental questions are at the heart of the work of Hans-Peter Feldmann (1941–2023), who is the subject of an extensive exhibition at the Kunstpalast in autumn 2025. The artist’s central themes were already evident in his early works and appear throughout his oeuvre: everyday life, social clichés, voyeurism, private and public spheres, the formation of taste, humour and satire, dreams and projections. From the very beginning of his career, Feldmann also systematically employed strategies of artistic appropriation, alienation and recontextualisation.

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Transgresoras: Mail Art and Messages, 1960s–2020s surveys artworks made and exchanged by Latinx and Latin American women artists from the 1960s to the present. As a mode of artistic production that relied on the postal service for the circulation and exchange of artworks, Mail Art allowed artists in repressive societies to evade strict censorship measures, providing platforms for circulating their work and for political protest. Latinx and Latin American women artists have used the postal system to transgress a varied set of restrictive systems, ranging from gender expectations to authoritarian regimes.

Transgresoras presents historic works—including visual poetry, drawings, prints, performance, video, and photography—in dialogue with the work of a younger generation of artists who employ facets of correspondence in their work. This intergenerational approach brings to the fore overlooked historical precedents to restore a lineage of artistic production that has been little known in ensuing decades, enhancing our perspective on central issues of today’s media and political landscape.

The exhibition is organized around constellations addressing broad thematic groupings such as state control of communications media, censorship, and authoritarian violence; gender constructions and feminist ideals; migration, interconnectedness, and community at a distance; state bureaucracies and the legacies of colonialism; and decolonial approaches to ecology.

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There Is a Crack in Everything brings together more than twenty-five international artists whose practices intertwine emotion and form with questions of belonging, identity, and memory. From visible violence to imposed silences, from damages to life to the vulnerability of surrounding environments, these artists explore the human condition in its tensions as well as its possibilities, transforming these realities into imaginings of resistance, displacement, and reinvention.

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Birds exert a strong attraction on people. They embody freedom, transcendence, speed and power. The kings of the skies were revered by many cultures as heavenly messengers. There has always been religious, economic, political or scientific interest in the world of birds.

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Anton Kern Gallery is excited to introduce the work of German artist Jochen Lempert. Trained as a biologist, Lempert photographs plants, animals, and the fleeting traces of natural phenomena with both scientific acumen and a poetic appreciation. His approach unites the questions of a naturalist with reflections on the medium of photography. Always black and white, the photographs depict a diverse range of subjects and genres, ranging from everyday views to abstracted details. Series alternate with single pictures, highly contrasted images with almost blank papers, through which multiple links and subtle associations are woven.

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Marian Goodman Gallery is pleased to present in Paris beaucoup, peu, rien, a solo exhibition by Ana Jotta, proposed and organized by Ampersand, with whom the artist has collaborated regularly in recent years. Over the decades, Ana Jotta has shaped a unique artistic universe that defies classification and explores a variety of mediums, aesthetic categories and sources of inspiration. For this exhibition, the artist is unveiling a new project, specially designed for the gallery space at 66 rue du Temple.

Ana Jotta: My work never surprises me: it’s good or it’s bad. When something ‘stirs’, I make sure it keeps going. I’m stubborn. You have to keep at a task, come back, and I come back and I keep at it!

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Galerie Thomas Schulte presents a solo exhibition by Pieter Vermeersch, featuring new works and immersive interventions, which, through color and spatial relationships, respond intuitively to the surroundings of the corner space and adjacent window space. The complementary, coexisting aspects of representation and abstraction are probed through their different interactions within and between works of varying dimensional and material properties – comprising painting, silkscreen and stone. In taking an analytical approach to the behaviors and conditions of the painted image, color and light, the parameters of the medium are expanded to accommodate further reflection – becoming as elemental as matter, space and time.

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A PARLIAMENT OF OWLS, A CONSORTIUM OF CRABS, A CULTURE OF BACTERIA, A LABOR OF MOLES, A BUSINESS OF FERRETS, A SIEGE OF HERONS, A CONSPIRACY OF LEMURS, A WISDOM OF WOMBATS, A PANDEMONIUM OF PARROTS

An exhibition assemblage about multispecies worlds, around the central question: who benefits when species meet?

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Éramos felices y no lo sabíamos (We were happy and didn’t know about it) is an evocative portrait of one of the most vibrant periods of contemporary art in Mexico. The exhibition shows the work of twenty-eight artists, some Mexican by birth and others by choice. On display are 65 works of video, installation, photography and sculpture.

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During three separate residencies at Settantaventidue, LUCE produced a number of site-specific interventions, exploring the city of Milan with his unique gaze. Raw materials collected and elaborated by the artist during his stays in Milan were taken back to Spain and then shaped in their final form of artworks. The works then returned to settantaventidue to be exhibited for the first time to the public during this occasion.

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This presentation of the Museum of Contemporary Art of the Basque Country Collection brings together recently acquired works that include sculpture, painting, drawing, photography and video. The works selected explore the discursive lines that define the institution’s programmes. They deal with issues such as the status of the image as an “object of thought” as well as the new forms of writing it displays, the capacity of art to engage in contemporary social discussions and its willingness to create new forms of community.

The collection has therefore been expanded to include works by artists who have been part of the museum’s programme, with solo exhibitions having been dedicated to them, as well as works from the Shared Collection programme. The exhibition also includes long-term loans and donations made to the museum’s foundation in recent years.

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La Collectionneuse is an exhibition that grew out of an invitation to develop a project on the basis of Silvia Fiorucci’s collection. It is a show without any other theme than the idea of a collection as a portrait of a person. While based on a selection of works carried out by Silvia Fiorucci, La Collectionneuse aims to evoke the figure of an imaginary collector. Unlike public institutions, private collections reflect the tastes and interests of an individual, although the collector often aspires to turn them into a shared resource, ultimately restoring them to the community.  In this sense, the criteria that determine their constitution can be absolutely variable, whether these are formal, conceptual or personal. In the words of the famous maxim by Goethe, “collectors are happy people”.  

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Episodes of art history in Napoli from the 1960s to the present.

The narrative proposed by the exhibition, grouped around moments and episodes, follows a non-chronological structure that intends to reflect the fluctuating nature of human memory, offering the public a dynamic vision that proceeds by offshoots and cross-references. As evidence of the continually developing process of study on which Gli anni is based, additional exhibition rooms and works will be integrated into the exhibition itinerary after the opening, and other exhibition chapters will follow.

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»Isa Mona Lisa« is the ironic and playful title chosen for a large-scale exhibition that provides a lively glimpse of recent art via a selection of unusual works by international contemporary artists. The title is taken from an eponymous photograph by Wolfgang Tillmans (b. 1968) of his artist colleague Isa Genzken (b. 1948), and both are represented with works in the exhibition. Visitors will encounter specially furnished artist rooms featuring new acquisitions by the Hamburger Kunsthalle, most of them presented for the first time, as well as iconic works from the collection and others that can now be put on display thanks to a recently launched collaboration with an important private collection in Hamburg. The selected exhibits – which include paintings, drawings, photographs and installations – will be presented throughout the basement floor of the Galerie der Gegenwart.

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In development since 2020, the exhibition Science/Fiction — A Non-History of Plants retraces the visual history of plants through art, technology, and science from the nineteenth century to the present day. Bringing together over 40 artists from different periods and nationalities, this exhibition juxtaposes historic photographic works such as Anna Atkins’ cyanotypes, Karl Blossfeldt’s inventory of plant forms and Laure Albin Guillot’s microscope experiments with creations by contemporary artists such as Jochen Lempert, Pierre Joseph, Angelica Mesiti, Agnieszka Polska, and Sam Falls.

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Over the course of the past five decades, Ana Jotta (1946, Lisbon) has developed a deeply personal artistic vocabulary that rejects and even antagonizes all forms of classification and identification. Instead of any recognizable style, she takes from, subverts, and trespasses across various aesthetic categories, making a world that exists only on her own terms. Instead of attempting to encompass Jotta’s entire practice, the exhibition narrows its focus around a specific aspect of her work: the expanded sense she brings to the act of drawing.

Curators: Anthony Huberman and Miguel Wandschneider

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Confluences. Between the archive and the intervention is an exhibition proposal that accounts, archives and updates what has happened since 2021 in various locations with less than one hundred inhabitants in the Valencian Community within the Confluències program. Likewise, it shows twelve new interventions and pieces by the team of artists generated specifically for the IVAM G7.

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“End (two prologues) is the work commissioned from Dora García by the CNIO for its seventh edition. The artist has chosen one of her most recurrent mediums, film, but also writing and performance, all of them as devices that seek to position us as critical and aware spectators before that abyss of time established by sound and visual realities so far away—but strangely connected—in their political and poetic transmission” (Juan de Nieves, curator of CNIO Art).

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The exhibition title Composição (Composition), borrowed from one of the works, neither alludes to nor comments on the artist’s practice; it refers instead to the exhibition itself as a construct in the double sense of a process and an outcome. Rather than adopting a certain framework of reference or point of view when selecting the artworks, one basic rule was followed: to choose an artwork and thus set in motion a process of association between works that enhances an understanding of the artist’s work, providing insight into the intricacies of her practice and the idiosyncrasy of her subjective world. It was an intuitive and open-ended heuristic process with neither map nor compass.

Curator: Miguel Wandschneider

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