Seeing the Alhambra in Granada was an extraordinary experience for me. It was the first time that I understood painting as something other than an object hanging on a wall. I thought that paintings could be in a fixed place, made for that place, made for the light of the place, experienced kinesthetically.
Lachlan Turczan's practice sits in the space between physics, optics, and environmental art, as he works with lasers, water, mist, and custom-built lenses to produce sculptures made entirely from light.
This weekend such a moment occurred. I never knew I wanted to see Harry Styles channel Lord of the Dance Michael Flatley in a silk blouson shirt and headband and canter around a stage.
"I haven't heard him sing yet," Flannery confesses, in answer to the burning question, when we sit down after a rehearsal in Nuns Island theatre in Galway.
The article explores Gourounlian's formative experience of fleeing Armenia during his childhood, which shaped his perspective and resilience. He discusses the contrast between his early life challenges and his later success in the entertainment industry, providing context for understanding his journey from displacement to becoming a recognized television personality and judge on Dancing with the Stars.
Muscle memory refers to procedural memory, actions taken that do not require conscious thought (like riding a bike) as the motor movement has been embedded in the brain through repetition. Contextual mistakes in muscle memory—such as someone attempting to zoom in while drawing on paper versus a tablet computer or double-tapping a photograph instead of a social media feed—prove a potent starting point for Doe's latest body of work.
The 24/7 grind of a politician is not for the faint-hearted as the likes of Simon Coveney and Catherine Martin will tell you. Former TDs who stood down or lost their Dáil seat at the last general election say why they haven't looked back.
On Franklin Street in Brooklyn's Greenpoint neighborhood, one non-commercial gallery fosters 'a small, stubbornly human space for friction.' Friction—the ubiquitous buzzword that captures the simultaneous delight and discomfort of doing things the slow way—is at the heart of artists Pap Souleye Fall and Char Jeré's current show at Subtitled NYC. It also reflects the overall spirit of this little exhibition space and of a burgeoning movement to reject our culture of optimization in favor of a bumpier, more intimate, less alienating experience.
Interior designer Emma Edmonds' home is tiny but that doesn't deter her from filling it with a host of unlikely items, including a full-size swing in the living room and a slipper bath on her patio. The result is a home full of furniture gems and joie de vivre There's a sign over Emma Edmonds' bed which reads: "Spill salt over your left shoulder, keep rosemary by your garden gate, plant lavender for luck and fall in love whenever you can."
Her installations and individual sculptures combine a wealth of things and techniques, often all at once, from found objects to time-honoured sculptural materials like bronze and marble; and from carving to casting and crocheting. Colour plays a vital role in her work, in the varied hues of textiles or plaster.
Now, he celebrates his first major presentation in Latin America, in congruence with Mexico City Art Week 2026 and ZSONAMACO, showcasing on an ideal stage inside one of the city's most architecturally layered interiors. Titled The Resident, the site-responsive installation, created during a residency at the Diez Company house, transforms the historic showroom into an immersive tableau where more than 50 works negotiate the boundaries between collectible design, contemporary art, and spatial theater.
In Arash Nassiri's new moving-image commission, an insect puppet drags itself across an empty marble floor, cast in eerie blue evening light. The scene is diffused through an enormous frosted-glass cubicle, refracting and distorting the images. That sense of distortion pervades the Tehran-born, Berlin-based Nassiri's first institutional solo exhibition, A Bug's Life, which opened last weekend at London's Chisenhale Gallery-and comprises a film set within a sculptural installation.
The Irish government will give 2,000 artists unrestricted weekly stipends in a program officials described as a "recognition, at government level, of the important role of the arts in Irish society." After a successful three-year pilot, the Irish government made its basic income program for artists permanent. Similar pilots have been launched here in the United States, but they're supported primarily by the nonprofit sector.
