Jan Vorisek’s Flaccid Columns
Jan Vorisek’s “Elbows” installation at Arcadia Missa transforms mass‑market plastic column moulds into curving, hollow sculptures. The work pairs original ABS moulds with 3D‑printed articulations that bend the straight forms into worm‑like elbows. By using cheap Chinese‑made architectural kits, the piece comments on the commodification of classical authority, property‑value speculation, and global supply‑chain excess. Critics note the gesture is visually striking but question its depth as a critique of capitalism.
Glasgow International Announces Full 2026 Programme
Glasgow International has unveiled the full programme for its 11th biennial, scheduled from 5 to 21 June 2026 under the new artistic direction of Helen Nisbet. The festival will probe artistic experimentation, personal and ancestral memory, intergenerational kinship and cross‑cultural...
Museum as Dreaming Machine
Refik Anadol argues that legacy museums can’t easily accommodate mutable AI‑driven art, prompting the creation of DATALAND – a purpose‑built museum where architecture and machine intelligence co‑create. The project embeds a Large Nature Model trained on ethically sourced ecological data,...
Michael Clark’s Controlled Movements
Michael Clark’s 2003 solo *Satie Studs* returned to the Serpentine Galleries in February 2026, performed barefoot by Jules Cunningham. Set to Erik Satie’s first *Quatre Préludes*, the piece strips ballet and yoga gestures to stark, controlled poses. The choreography contrasts sharply with Clark’s earlier...
Maja Malou Lyse on Representing Denmark at the 61st Venice Biennale
Denmark’s Maja Malou Lyse will present “Things To Come” at the 61st Venice Biennale, a project that fuses scientific research, speculative fiction, and explicit erotic imagery. Inspired by a study linking virtual sexual stimuli to sperm motility, the work interrogates...
Tuwaiq Sculpture 2026 Presented by Riyadh Art
The seventh edition of Tuwaiq Sculpture returns to Riyadh from 12 January to 22 February 2026, featuring 25 artists from 18 countries who will create large‑scale works live on Tahlia Street. Curated under the theme “Traces of What Will Be,” the programme...
Nat Faulkner: The Stuff of Photography
Nat Faulkner’s 2026 Camden Art Centre exhibition reframes photography as a chemical and physical act rather than a purely visual one. Installations like *Aperture (Iodine)* use iodine‑filled panels to bathe the space in amber light, while *Aqua Fortis* and *Moth‑catcher*...
Craig Jun Li: Scrapping the Camera
Craig Jun Li’s solo show at Chapter NY revisits analog photography by dismantling camera components and presenting them as silicone‑based wall installations. The works pair distorted dye‑transfer prints of projector interiors with Polaroid images, and incorporate actual SX‑70 springs, foregrounding...
Joe Moss, Drones and Caspar David Friedrich
Joe Moss’s new installation *Automated Fantasy Procedure* at Matt’s Gallery revives the post‑internet aesthetic of the late 2000s while injecting fresh concerns about drone warfare and machine agency. Small research drones hover above visitors, while dual screens project a mash‑up...
The Interview: Kei Ishikawa
Japanese filmmaker Kei Ishikawa has directed a cinematic adaptation of Kazuo Ishiguro’s debut novel A Pale View of Hills, releasing in UK cinemas on March 13, 2026. The film expands the original 1980s‑Britain narrative into a dual‑timeline drama, introduces a...
Lubaina Himid on Representing Great Britain at the 61st Venice Biennale
Lubaina Himid will represent Great Britain at the 61st Venice Biennale with an installation of large multi‑panel paintings, found‑object works, and a bespoke sound piece by Magda Stawarska. The project, inspired by her lifelong quest to understand belonging, navigates melancholy...
A First Look at Su Yu-Xin’s ‘Afterstone’
Taiwanese artist Su Yu‑Xin presents “Afterstone” at Lo Studio in Venice. The show features about fifteen paintings and more than a dozen wax‑based sculptures that use hand‑ground pigments sourced from Pacific coastal soils, minerals and shells. By treating colour as...
Art Basel Hong Kong Screening and Talk: Ayoung Kim and ikkibawiKrrr
The Korea Arts Management Service and ArtReview hosted a special screening at Art Basel Hong Kong titled “Life as a System: Time, Labor, and Storytelling in Contemporary Moving Image.” The program featured Ayoung Kim’s AI‑enhanced film Al‑Mather Plot 1991 and ikkibawiKrrr’s...
Notes From New York: Independent Study
The "Future Schools" exhibition at the National Academy of Design spotlights a growing crisis in U.S. art education, where faculty departures, funding cuts, and a shift toward contingent staffing threaten departmental stability. Artists like Chloë Bass draw on Joseph Beuys’s...
How to Take R. Crumb at Face Value
R. Crumb’s solo show "There’s No End to the Nonsense" opened at David Zwirner in London, spanning two floors and works from the 1960s to 2025. The exhibition places his notorious crude, sexual imagery beside more tender, humanistic pieces, presenting the...
Clémence De La Tour Du Pin’s Atmospheric Meditations
French artist Clémence de La Tour du Pin presents a new show at Derosia, New York, featuring four untitled, six‑centimetre‑high assemblages that span six metres each. The works combine discarded urban objects—umbrella spokes, tangled silk—with wax, oil paint and linen,...