#milenstein-art

#milenstein-art

Ruinart has invited internationally renowned artists to artistically interpret the Maison since 2008, with this year's collaboration featuring Tadashi Kawamata's unique vision.

"Technology is both the remedy and the poison," artist Cao Fei quotes Bernard Stiegler, emphasizing the complex relationship between technological advancements and their impact on human practices.

The dream is the confusion machine I didn't have to build, a space where perception slips beyond authorship. Within Communal Dreams, influence operates as a subtle signal rather than a directive force.

"The name is a paradox. They never functioned as a collective," says Kaat Debo, MoMu's director. "Some of them still describe that label as a blessing and a curse. But they were friends."

The 2026 edition signals a more structural shift through collaborations with figures such as Rem Koolhaas and David Gianotten, positioning the Salone as an evolving cultural infrastructure rather than a conventional trade fair.

Pictoplasma is the world's leading conference on contemporary character-driven creativity, focusing on storytelling and how characters shape emotion, identity, and meaning.

The title was spontaneous, impulsive. It was inspired by Kenneth Anger. He has two films with 'Rising' in the title - 'Lucifer Rising' and 'Scorpio Rising' - and I wanted to make something in this supernatural, surreal, occultist, exaggerated, fantasy world, like his films.

The collaboration marries Yener's distinctive vocals with the punchy sound of Madrigal, resulting in a contemporary track that resonates with emotional complexity.

The Featured section highlights projects in newly discovered locations, opening the city's art landscape to diverse, experimental and site-specific approaches.

In both places, there was a sense of energy building that was not yet fully visible. The experiences made me realize that, while sales totals and fair brands can serve as benchmarks of centrality, slower, structural transformations are taking place throughout Asia that merit closer attention.

Censorship strips innocence from the young and kindness from the elderly. It discourages people from valuing justice, fostering selfishness instead.

The after-hours special showcase was first tested in January 2024 on the sidelines of the Africa Cup of Nations football tournament hosted and won by Cote d'Ivoire.

The German economy's post-pandemic rebound has lagged behind other E.U. countries, and that stagnation has also been reflected in its art market.

Flusser believed that the transformation brought about by new media would reshape the world, leading to a consciousness defined by images rather than the written word.

As we traverse an era dominated by algorithms and driven by the impulse for efficiency, we increasingly sacrifice our ability to feel. In this "age of emotional poverty," highlighted by philosopher Byung-Chul Han, our emotional landscapes grow flatter, our pains diluted, and genuine intimacy replaced with a sterile digital façade. However, in Gulu's evocative imagery, the body emerges as a resilient space of resistance, pushing back against a world that demands we conform to neat, predictable narratives.

Yale came to me and said there isn't an overarching book about the history of printmaking; they wanted it to be about the printed image. There are a lot of books about printing-about the history of journalism or the history of books, the printing press and the printed word-but not so much about the printed image and its processes. So that was my challenge.

George Costakis spent three decades hunting down, and saving, thousands of Russian and Soviet avant-garde works of art-at a time when they were hidden, vilified by the state and at risk of disappearing into history.

"These paintings merge the landscape and the intimacy of windows through the framing of the car, bridging the two realms I've typically explored separately. The car becomes a meditation on transition, on existing simultaneously here and elsewhere."

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.