All in art
“Tide of Returns” opens the 2026 season of Ocean Space in the former Church of San Lorenzo in Venice, from late March through October 11. Like the tides themselves, the exhibition carries back what once seemed lost: objects, memories, identities torn from the communities that had given them life.
Cao Fei turns a rice field into a philosophical question. Drones replace gods. Algorithms rewrite ancient rituals. Milan, April–September 2026. Fondazione Prada.
Six years later. Same rabbit hole. Much darker, Very cursed down here. Clusterduck spent six years going down the rabbit hole of internet culture. Here is what they found. Clusterduck, six years inside the rabbit hole of internet culture. Clusterduck, six years inside the (rabbit) hole of internet culture.
With Smooth Operator, Villiam Miklos Andersen questions the very idea of comfort, stripping it of any reassuring automatism. In his practice, what welcomes us is never entirely innocent: well-being, rest, and care are always also the product of structures that discipline bodies, regulate behavior, and define who is truly allowed to feel included within a system.
Gottfried Helnwein makes you look at what most people prefer to ignore. His first major retrospective in Spain opens now at SOLO Independencia, Madrid.
Vittorio Valigi begins with subtraction. His design logic, whether for a client or an exhibition, operates by removing what does not belong until only the irreducible remains. Ten years of living inside an altered body taught him exactly what that means.
Alessandro Aprile’s first solo show exhibition at MATTA in Milan unfolds as a suspended field: bodies surface and dissolve, thresholds flicker, and painting becomes a slow emergence of unstable, shared states of being.
The West was built on a story. This exhibition, running at 10·Corso·Como until April 7, lines up the photographers who believed it, and those who knew better.
Five artists propose a world where human flesh and geological matter share the same origin. The body stops being a boundary. It becomes a site of radical reciprocity.
Between the visible and the sensed lies a quiet territory where light bends, air moves, and perception begins to question itself.
“K-Now: Korea Video Art Today”, at MASI Lugano, until 19 July 2026, answers through the works of eight artists and one collective, tracing unresolved wars, algorithmic labour, and diasporic identities. A generation born between the 1970s and early 1990s, witnesses to democratisation and digital acceleration, turns the screen into a territory of memory, critique, and restless self-interrogation.
Giovanna Silva “L'ultima estate in città”: a dialogue between Giovanna Silva's urban photography and the ceramics of Officine Saffi Lab.
sikau/pubalova's exhibition challenges the body through the microbial, haptic, sonic, and olfactory. At Kunsthalle Praha, what it absorbs becomes a means of knowledge: ecological grief as a collective, contradictory, and incommensurable condition.
Yoniro returns with a new and ambitious project, a concept album that explores and fuses the tradition of the Taranta with electronic sound research.
The work of Lina Filipovich reclaims religious, political, and cultural symbols, transforming them into tools of resistance, reinterpretation, and feminist mythmaking. Rather than rejecting these visual languages entirely, Lina inhabits an in-between space, where appropriation becomes a strategy to expose and destabilize systems of patriarchal and authoritarian power while opening them to new, subjective meanings.
ILL-STUDIO is a research driven practice shaped by impulse, not instruction. In this interview, Thomas Subreville traces how ideas circulate, resist coherence, and settle only when meaning outweighs form. Finality becomes irrelevant once logic replaces structure.
From painting to video, and art to cinema, artist Kamil Dossar is exploring the understanding of the “alien” in Western thought. Represented by AI-generated lizards moving in an Iraqi landscape, his most recent body of work and upcoming cinema debut invites audiences to a renegotiation with the Unknown.
Ivy Vo, a UK-based Vietnamese artist works across multimedia formats – printmaking, video, installation, and graphic design – and she often transposes a digital world to physical spaces and sculptural objects.
Motorized wheelbarrows. Bumper cars with horsepower. Forty years of obsession, 4,500 shows, one garage in Stuttgart. FEUERSTÜHLE brings the machines inside and turns the volume up.
Visual artist and ceramic sculptor Becky Tucker invites us into a parallel world where the shadows of ancient civilizations meets futuristic horror.
