In Dialogue: Angela Bulloch, Richard Deacon, Janice Kerbel, Pae White and Jim Amberson

Angela Bulloch and Pae White | STPI Creative Workshop & Gallery, Singapore

Artists in the exhibition New Releases Old Friends, Angela Bulloch, Richard Deacon, Janice Kerbel, and Pae White, come together for a panel discussion at STPI Creative Workshop & Gallery moderated by Jim Amberson.

New Releases Old Friends spotlights new facets of their respective practices, with fresh works by Bulloch, Kerbel and Rehberger premiering in Singapore alongside earlier works by Deacon and White – all developed in close collaboration with STPI’s Creative Workshop during their residencies with the esteemed Visting Artists Programme (VAP).

Find more information on the exhibition here.

The Decisive Moment with Jonny Niesche, the Australian contemporary artist behind Gucci's 90x90 project on his career-defining epiphany.

Jonny Niesche | Assouline Culture Lounge

Photo by Dirk Tacke.

by Sofia Quintero

In the occasion where fine art meets high fashion, few brand collaborations strike the perfect balance between heritage and innovation. But not every brand is Gucci. To celebrate its iconic silk scarves, the Italian heritage brand launched "90x90," a special campaign featuring nine international artists tasked with reimagining five archival themes: flora, fauna, nautical, equestrian, and the GG Monogram.

Among these visionaries is Jonny Niesche, an Australian contemporary artist whose vibrant works have captivated the art world at large with his hypnotic blend of romanticism, abstraction, and minimalism. Known for his explorations of light and space perceptions, Niesche brings a distinct angle to the collaboration. "I have loved Gucci since my teens," Niesche says. "The brand has always had an elegance and classic style that really resonates with me." 90x90 marks Niesche’s first partnership with a fashion label. He deliberately waited for the ideal opportunity, and Gucci was the perfect fit.

Read more here.

Diana Thater and 8 Other Artists Pick Most Influential Environmental Art of the Past Century

Diana Thater | Cultured Magazine

“This might not be environmental art, but it is an astounding image of the living environment, and it does what 'environmental' art should do and that is to give us an appreciation of the fascinating lives of others. It covers the 'art' part of the equation be being a REALLY GOOD photograph—something, ironically enough, we see very little of these days.

The story is this: A photographer was filming crested black macaques in Indonesia. He left his camera, and a female macaque snapped a series of self-portraits. You can see her thinking about it across the range of images. There are several shots where she tries serious looks—then she finally grins. Presumably, she was looking at her own reflection in the lens as she tried out different attitudes. In some of the photos you can see the camera lens reflected in her eyes. It’s not just a charming image of self-reflection; smiling from ear to ear, this macaque presents herself to the world. My purpose in making art is in representing those who do not represent themselves. But this macaque doesn’t need me. Crested black macaques are critically endangered.”

Read more here.

Review: Jorge Pardo at 1301PE

Jorge Pardo | ArtForum

by Jan Tumlir

“Art is what it has become,” Theodor Adorno unequivocally declares in Aesthetic Theory (1970). His statement implies that the original meaning of a work can be completely overturned by its contemporary circumstances. A similar point can be made about gallery practice: Operational protocols, once seemingly set in stone, can undergo ground-up rethinking with every slight shift in our systems of informational and economic distribution. Jorge Pardo’s latest outing at 1301PE addressed this process from an ironic distance. But some measure of warmth could also be felt here, directed from the artist to the gallery’s founder, Brian Butler, with whom he has worked closely since the earliest days of his career. 

This show consisted of just one painting, Untitled, 2024, the scale and proportions of which closely matched those of the wall on which it hung, one that faced the entrance to a reconfigured downstairs gallery. Normally, this space opens onto a corridor that connects to the reception desk and office, and, farther on, to a stairway leading up to a second showroom. On this occasion, however, the passage had been sealed. In a period when commercial galleries are increasingly prone to hedging their bets with “mixed nuts,” something-for-everyone assortments of art, this was a rather striking proposition. Even more so was the fact that this work could be read as a kind of tribute to its site. At a distance, the painting appeared resolutely abstract, nonreferential, this impression reinforced by its title (or lack thereof). Observed more closely, it was revealed to be suffused with information. Its surface teems with material gleaned from every poster Butler had produced to accompany the gallery’s exhibitions up to then. Snippets of typography and fragments of imagery are scattered throughout, as if drawn through a shredder and then spread, mulch-like, across the picture plane. As with much of the artist’s work, Pardo layered, condensed, and recomposited the source data with the aid of computer programs run with minimal interference. Nevertheless, the result bore a strikingly organic aspect. From its earthy, autumnal tones to the quasi-gestural application of each daub of color, the painting greeted the eye as a kind of Arcadian landscape akin to those by Édouard Vuillard.

Read more here.

Fiona Banner AKA The Vanity Press

Fiona Banner AKA The Vanity Press | Burlington Contemporary

Fiona Banner AKA The Vanity Press in 2024. (© Fiona Banner Studio; courtesy the artist and Frith Street Gallery, London; photograph Leroy Boeteng).

interviewed by Millie Walton

Although the links drawn between different types of assault and exploitation – on the body, on the landscape, on language itself – are often unsettling and confronting, there is always a sense of play to what Banner makes, a sending-up or collapsing of ‘grand’ ideas but also of her work. For her Tate commission in 2010, for example, she bought and installed two full-size fighter jets – a Sea Harrier aircraft and a SEPECAT Jaguar aircraft – into the Duveen galleries, creating an environment that was alternately monumental and sad. She later melted the planes down into ingots, which she keeps in her east London studio. Ahead of Banner’s solo exhibition at Frith Street Gallery, London (21st March–3rd May 2025), Millie Walton spoke to the artist about language, time, motherhood and military aircraft.

Read more here.

Artist Rirkrit Tiravanija: "As an artist, I can only make signs."

Rirkrit Tiravanija | Louisiana Channel

“Paying attention now is actually a kind of political act."

Renowned Thai artist Rirkrit Tiravanija reflects on the role of art in a time of crisis, the importance of questioning authority, and the need for critical engagement with the world around us in repressive times.

For Tiravanija, art serves as a space of doubt and freedom: "Art is always a place where we can have doubt, we're free to think, and we're free to question authority—any kind of authority." He urges viewers to challenge established institutions, including their own assumptions.

“I think now when we're in a place and time where you know there's so much trying to ask for attention, but the attention they're asking for is a kind of is a diversion from reality in a way is a diversion from facts is a diversion from truth,” Tiravanija says.

Tiravanija talks shares his view of the world at the occasion of his most recent work ‘A Million Rabbit Holes (2024), reflecting the events leading up to the US selection in November 2024.

Throughout the discussion, Rirkrit Tiravanija draws on personal observations and global political concerns, highlighting the dangers of uncritical acceptance: "We're coming to a place where the dreams are going to be shattered, there is no more dream."

Tiravanija also reflects on the commodification of art, arguing for a return to its radical roots: "Art has to stop becoming commodified and art has to go out and back into the woods as it was. Or maybe Duchamp, like has said, you know, it's time to go underground."

Despite the challenges ahead, the artist remains hopeful that crisis can be a catalyst for change: "I think we're coming to a big crisis and I I think, and I hope, that crisis is extreme enough to wake people up, to come together, to do things together in opposition to those things that are being set on us."

Inside An Intimate Dinner In Support Of The LA Arts Community Fire Relief Fund

Jorge Pardo | Elle Decor

Photo by Katie Jones

By Sean Santiago

Last weekend, ELLE Decor hosted an intimate dinner at Ardor at The West Hollywood EDITION in support of the LA Arts Community Fire Relief Fund. The event was supported by Visit West Hollywood and Monacelli, off the back of Primack and Weissenberg’s Love How You Live: Adventures in Interior Design multi-city book tour. Each guest took home a copy of the book along with their own one-of-a-kind plate, hand-painted by artist Jorge Pardo. Sales of the plates, currently available by special order through the AGO Projects site, will raise money for the relief fund.

Read more here.

Philippe Parreno: Between Difficulty and Possibility

Philippe Parreno | ArtReview

Philippe Parreno, Voices, 2024 (installation view). Photo: Andrea Rossetti.

by Martin Herbert

Philippe Parreno’s exhibitions are often initially experienced as a destabilising encounter with otherness. So, at the risk of blowing that for anyone who hasn’t seen Voices – a version of which, to be fair, was shown earlier in 2024 at the Leeum Museum of Art in Seoul – here’s what a first wander through is like. Haus der Kunst’s huge, darkened, neoclassical main space, flanked by smaller ones on either side and at the back, is dominated by an evolving film on a screen, El Almendral (2024), an updating stream of footage from an almond grove and surrounding landscape in Almería, Spain; almond trees tolerate drought, and this region is steadily undergoing desertification due to climate change. The smaller spaces offer a stop-start scenography of Parreno’s increasingly trademark light- and sound-based sculptures, mostly new, a few dating back years. Among them are a trio of bobbly glass sculptures, shaped like giant peanut shells and containing coloured lights, that slide up and down steel poles and cast rippling, austerely psychedelic patterns on the walls; a 5 × 5 grid of blinking globular heat lamps strung from the ceiling – heat being a leitmotif of the show – and suspended, intermittently rotating speakers that softly emit an aleatory soundscape of droning, muttering and chirring. The latter is part of an overall soundscape divided across the rooms, Voices (2024), which clones and sometimes completely abstracts speech by well-known German TV presenter Susanne Daubner. In each case, here, it feels like something is being transmitted in a language halfway alien, halfway familiar.

Read more here.

Phillipe Perreno in 'Double Vision: The Rachofsky Collection and the Hartland & Mackie / Labora Collection' at The Warehouse, Dallas

Phillipe Perreno
February 15 - June 28, 2025 | The Warehouse, Dallas

Fraught Times: For Eleven Months of the Year it’s an Artwork and in December it’s Christmas (July), 2017
Cast and painted stainless steel
141 3/4 inches (360 cm); Diameter: 94 1/2 inches (240 cm)
Hartland & Mackie / Labora Collection

The inaugural exhibition of the newly formed Warehouse Dallas Art Foundation offers a glimpse at two collections—The Rachofsky Collection, created over the past 40 years, and the Hartland & Mackie / Labora Collection, developed over the last decade—foregrounding the potent and inventive interplay that will serve as a guiding principle for future programming at The Warehouse. This first look, as it were, is the Foundation’s opening chapter as it explores the art of our times.

Although both collections remain distinct in their points of view, the exhibition illuminates the serendipitous ways they overlap. As the exhibition unfolds, each gallery explores a theme or artist central to both collections, including commitments to several artists collected in-depth, such as Carroll Dunham, Wade Guyton, Marguerite Humeau, Calvin Marcus, and Dana Schutz. The exhibition is punctuated with galleries that offer broad presentations of these artists’ practices. In some instances, works by the same artists from different bodies of work will be placed in conversation, while in others, entirely different practices will be brought into dialogue.

More Info

At Guadalajara Art Weekend, Open Studios Are the Biggest Draw

Jorge Mendez Blake, Jorge Pardo and Pae White | Observer

Ceramica Suro’s annual Comida celebration during ART WKND GDL. Photo by Tuna Unalan.

By Elisa Carollo

The highlight of the evening at Plataforma was a conversation between Cuban artist Jorge Pardo and American artist Pae White, both of whom have long-standing ties with José Noé Suro. Pardo’s immersive, labyrinthine installation of luminous ceramic walls and colorful lamps seamlessly intertwined with White’s newest series of sculptures, forming an engaging, multisensory environment that explored how visual curiosity and emotional impulses shape perception.

The final stop was the studio of conceptual artist Jorge Méndez Blake, whose multimedia practice explores the intersection of literature, art and architecture—disciplines humans use to define their existential and operational space, imposing structure and direction upon it. Deconstructed pages of famous books transform into constellations of meaning, as Méndez Blake distills single characters, isolating them in a careful, rational order. Across his sprawling studio, various workstations held a series of hyperrealistic paintings, which, through trompe-l’œil techniques, similarly yet more directly challenge the viewer’s perception of reality. These paintings also serve as tools for conceptualizing and developing his other projects, reinforcing the artist’s fascination with language, illusion and the ways in which knowledge is both constructed and dismantled.

Read more here.

Philippe Parreno's 'Voices' uses AI to give agency to denuded land

Philippe Parreno | NewScientist

Philippe Parreno, Voices, Haus Der Kunst, 2024. Photo by Andrea Rossetti.

By David Stock

Phillipe Parreno wants to take visitors to his latest exhibition, Voices at Munich’s Haus Der Kunst, on a journey into the unknown. “There is no dramatic arc produced by Netflix where you just have to sit, shut up and enjoy the show,” the artist explains of the large, multi-room space filled with moving light sculptures, heat lamps, speaker arrays, dancers and film screens. Instead, for Parreno, traversing the rooms is a process of composing your own journey. “You explore time in space with your own curiosity.”

Read more here.

Here are the 10 Must-See Gallery Shows in LA This Month

Jorge Pardo | Cultured Mag

Jorge Pardo, Untitled, 2024. Image courtesy of the artist and 1301PE.

By Giuliana Brida


Jorge Pardo

Where: 1301PE
When: Through January 11, 2025
Why It’s Worth A Look: Layering 30 years of 1301PE’s exhibition posters into a kaleidoscopic collage of color and form, Jorge Pardo’s monumental canvas blurs the line between a painting and its environment. The result is a dizzying play of abstraction and representation, a work that refuses to be pinned down and demands you step closer to decode its mysteries.
Know Before You Go: Depending on where you stand, colors collide or dissolve, textures sharpen or soften, and the image shifts like a mirage. Pardo wants you lost in the middle of it all—caught between recognition and abstraction, where every angle reveals something new. 

Read more here.

Most influential people in 2024 in the contemporary artworld

Rirkrit Tiravanija | ArtReview

Photo: Daniel Dorsa. Courtesy Rirkrit Tiravanija and David Zwirner

‘My interest is always to break down the distance between what we think [of] as art or high art and what we do in our daily life,’ Tiravanija once told The Korea Herald. During his close-to-40-year engagement with what has been characterised as relational aesthetics, the Thai artist has become known for his participatory events, from cooking pad thai for gallery goers to providing them with ping-pong tables. You’d think it might be tricky to encapsulate such a career in a retrospective, but his MoMA PS1 survey, which closed in March, before moving to LUMA Arles in June, had a go, as did a second retrospective at Gropius Bau, Berlin, which opened in September, serving curry and Turkish coffees, and providing hangout spaces where the interactions are the work.

Read more here.

Step Inside a Bewitching Ranch House in Malibu

Jorge Pardo | Architectural Digest

Photography by Mark Seelen

By Mayer Rus

Despite the eye-rolling hauteur of the word Gesamtkunstwerk, or total work of art, it is the mot juste to describe what Pardo has wrought: a dizzying, kaleidoscopic fantasy interior in which the floors, walls, ceilings, and furnishings filigree into a single orgasmic organism, brought to life through the artist’s signature experiments with form, pattern, and color. There’s a primary bedroom suite at one end of the structure, two guest rooms at the other, a kitchen/dining zone, and a sunken living room, the latter two mediated by a floor-to-ceiling storage volume clad in quotidian prefab wood shingles that strike a dramatic contrast note amid all the calligraphic finery. “It’s really a simple building, but when you step inside it’s optically extreme,” Pardo says, describing the symphony of engraved, punctured, and otherwise manipulated walls, windows, doors, and furnishings, all fabricated using CNC computer-driven machining processes.

Read more here.

Uta Barth at 1301PE

Uta Barth | Artillery Magazine

Uta Barth, Untitled #7, 2024

By Jody Zellen

In these pieces, the emphasis is not on the individual picture, but on the myriad ways it can be transformed and what those transformations imply about the difference between what the eye sees and how the camera records. Barth goes beyond the act of looking by manipulating the visual cues (the passage of the sun and its shadow) by which we map our days: She draws our attention to the subjective nature of our own passage through time and space, contingent on our perception of it.

Read more here.

Rirkrit Tiravanija’s Latest Show in London Tackles Disillusionment and Political Polarization

Rirkrit Tiravanija | Observer Magazine

Courtesy of the artist and Pilar Corrias

By Elisa Carollo

For his latest exhibition, “A MILLION RABBIT HOLES,” on view at Pilar Corrias in London during Frieze Art Week, Tiravanija has created an immersive environment that captures the atmosphere of American politics in the run-up to the presidential election next month while also reflecting on the dangerous polarization spreading across countries facing shared geopolitical uncertainties. Ahead of the opening, Observer connected with the artist to discuss the themes that shaped the show and the evolving meaning of “relational art,” with its inherently political dimension.

Read more here.

The Art of Film

Diana Thater | Aesthetica Magazine

Diana Thater, Practical Effects, Installation view: LUMA Arles, France, 2024.

By Emma Jacob

Diana Thater (b.1962) has been a pioneering creator of film and art since the early 1990s. She is best known for her site-specific installations, such as Delphine (1999) and knots + surfaces (2001), which explore the relationship between humans and the natural world. Here, she approaches the idea of post-apocalyptic life through a poignant and wistful lens, following a primate-like robot that is the last being left on Earth. It is tasked with the upkeep of a garden filled with intricately sculpted topiary animals. Devoid of interaction, the colourful robot can only find companionship with the figures it cares for. This video is a strange and tragicomic vision of how the organic and inorganic worlds may collide and support one another in unexpected ways as the Earth shifts and changes due to human behaviour. 

Read more here.

Fondation Beyeler’s 'What Time Is Heaven?' Show Is in Constant Transformation

Philippe Parreno | Hypebeast

Philippe Parreno, Membrane, 2023 and Fujiko Nakaya, Untitled, 2024. Installation view, Fondation Beyeler, 2024. Courtesy: the artists. Photo: Mark Niedermann

By Keith Estiler

Organized in collaboration with the LUMA Foundation and conceived by a team including Sam Keller, Mouna Mekouar, Isabela Mora, Hans Ulrich Obrist, Precious Okoyomon, Philippe Parreno, and Tino Sehgal, ‘What Time is Heaven?’ offers an evolving spectacle rather than a static collection that is now on view through August 11, 2024.

Read more here.

Rirkrit Tiravanija: ‘Food is an easy door to go through. It’s something we all do'

Rirkrit Tiravanija | Financial Times

Rirkrit Tiravanija opening for A LOT OF PEOPLE at MoMA PS1, 2023. Photo by Marissa Alper.

By Caroline Roux

“Food is an easy door to go through,” says the artist of his preferred medium of engagement. “It’s something we all do.” There will be no cooking here, but the influence of “Pad Thai” is all over the show. It is here in a series of woks that have been fetishised as art objets, while upstairs, in an area cordoned off with stacks of art books and catalogues, a man is making Turkish coffee on two electric rings. “It’s the opposite of an espresso,” says the barista, an Iranian drafted in from Luma’s catering staff. It is delicious, not strong but fruity and scented with just the right amount of rose water.

Read more here.

Judy Ledgerwood: Sunny Redux at Rhona Hoffman Gallery, Chicago

Judy Ledgerwood | Tussle Magazine

Judy Ledgerwood, Sunny Redux at Rhona Hoffman Gallery, Chicago, IL

By Pia Singh

A little over a year since ‘Sunny’ opened at Denny Gallery, New York, Rhona Hoffman presents an exquisite selection of Judy Ledgerwood’s large-scale paintings in Sunny Redux. It’s hard to write about Ledgerwood’s works in relationship to one another without getting caught up in formalist underpinnings of abstraction, interpretative language, or trying too hard to set out to contextualize the artists’ engrossment with color, form, and pattern. Initially, it was the intensity of play, how Ledgerwood teases both theory and history through the pleasurable (dare we say beautiful) translation of form and color, that felt like one possible route to entering the show. Yet, it felt like a disservice to the demand of the work, specifically at this time. 

 

How does one write about the rebellion of abstraction at a time of war? What bearings does language have on policy, and in turn, how does “art-speak” afford a degree of political impunity, dissuading both reader and writer from identifying the marks of imperial violence on our perception? Between the undeniable espousal of practice (as politic) and theory (of art), and accelerated consumption of images in mediated realities, what is revolutionary about the condition of slow-looking that a Ledgerwood demands? 

Read more here.