NORFOLK, U.K. Houghton Hall In direct contrast to Henry Moore’s monumental style, Chadwick applied a thick layer of Stolit—an industrial gypsum mixed with iron filings—onto a welded linear armature to augment the surface of his sculptures. The resulting body of work is characterized by immediately recognizable spiky forms and roughened textures.
In Proximity: A Conversation with Elizabeth Atterbury
Deep care and connection define Elizabeth Atterbury’s sculptures and their arrangements. Visually stunning surfaces, created in wood, clay, metal, and stone, are felt through the body.
Productive Tension: A Conversation with Nairy Baghramian
Baghramian shuns prescribed meanings, leaving her work open-ended and vulnerable. Equally wary of perfection, she rejects any form of idealization; instead, as she says, she “prioritiz(es) the perspectives of children.”
Body As Building: A Conversation with Antony Gormley
In works such as Innercity (2026), the distinction between sculpture and architecture begins to collapse. Bodies become buildings; buildings become bodies as visitors enter and navigate the interiors of sculptures in which space ceases to be a backdrop and becomes the work itself.
Yuko Mohri
SANTANDER, SPAIN Centro Botín Rooted in the precepts of the Fluxus movement, with a nod to the absurd, Mohri’s practice harnesses seemingly invisible forces to stimulate random objects normally activated by the human hand.
Danielle Julian Norton: Working Differently
Danielle Julian Norton understands the hold that systems of power have on contemporary life. Through acts of resistance—quiet, humorous, thoughtful, and based in care (the antithesis of oppression)—she examines the present and gives us a hopeful vision of the future.
Conceptual Burden: A Conversation with Jim Sanborn
For Jim Sanborn, who has been creating science-based public artworks, installations, and sculptures for several decades, art-making doubles as an exploration of hidden worlds, a way to “make the invisible visible.”
Anton Alvarez
HELSINKI Helsinki Contemporary Anton Alvarez’s “The Colour of Gravity” opens whole other worlds of shaping clay. Driven by experimentation and technical innovation, the Swedish Chilean artist distances himself from traditional processes.
Arquitectura de los vínculos humanos: Una Conversación con Diana Schufer
La artista visual argentina y licenciada en psicología Diana Schufer se apoya en instalaciones, videos y objetos donde, a través del abordaje de las relaciones humanas, genera experiencias inmersivas que ponen en crisis los límites entre lo público y lo privado.
Jasmine Togo-Brisby
GLASGOW Gallery of Modern Art A sweet, earthy aroma of molasses hits you at the entrance to “Liquid Land,” Jasmine Togo-Brisby’s debut European solo exhibition. The smell emanates from a large, corrugated steel drum resting on wooden railway sleepers just outside GoMA’s ground-floor gallery, where it serves as the perfect introduction to a richly atmospheric exploration of memory and belonging.
