LONDON Hayward Gallery These works, instead of inspiring sublimity, operate in much the same way as Victorian theater: “Gosh, that’s a real horse! Look, that’s an actual train being driven across the stage.” We are in a world of effects, which shades very quickly into melodrama.
Wallace Chan
SHANGHAI Long Museum West Bund Chan’s titanium is remarkable precisely because it seems to deny its industrial history. Instead of aerospace engineering, it evokes flowing water, flowering plants, nervous systems, and celestial bodies.
Marguerite Humeau
NEW YORK White Cube Though its skeletal patterning evokes familiar lifeforms such as deep-water coral and mammalian spines, any fleeting recognition quickly fades away as Stillenary reasserts itself as alien and reticent.
Mildred Howard
OAKLAND, CALIFORNIA Oakland Museum of California Colors, particularly red and cobalt blue, have always played a significant, sometimes shifting role in Howard’s work. In the dramatic main gallery, which brings together two of her signature installations and examples from a new series of commissioned sculptures, red takes on a more ominous tone.
Carl D’Alvia
SHELBURNE, VERMONT Shelburne Museum D’Alvia’s works sag, wobble, and curve, with simple forms that give way to soft, organic edges. Finished in automotive paint, their Minimalist surfaces are industrially precise, yet their silhouettes evoke bodies caught mid-gesture rather than inert geometric volumes.
El relato detrás de lo que vestimos: Una Conversación con Claudia Casarino
Nacida en Asunción, Paraguay, Claudia Casarino encuentra en las instalaciones y esculturas el lenguaje plástico acorde a un trabajo donde los textiles operan como espacios de inscripción de los cuerpos y el contexto social que habitan.
Live Moment: A Conversation with Monster Chetwynd
Drawing on theater, carnival, ritual, and the amateur spectacle, Chetwynd’s performances—complete with handmade costumes, improvised architectures, papier-mâché props, oversize masks, and an ever-changing cast of collaborators—are at once exuberant and deeply considered, embracing uncertainty as a condition of the live event.
In Ruins: A Conversation with Mounir Fatmi
Part archive and part archaeological experiment, Mounir Fatmi’s work draws on his early experiences of a flea market in Tangier. Using defunct antenna cables, typewriters, and VHS tapes, he exploits the finite lifespan of technology and consumer goods to question the limits of memory and communication.
Anne Hardy
EDINBURGH Talbot Rice Gallery, University of Edinburgh Hardy offers clues and some guidance, but the viewer’s imagination ultimately becomes the site where this immersive and evocative act of spatial world-building takes hold.
Beyond Explanations: A Conversation with Benjamin Orlow
Benjamin Orlow is primarily known for video works and figurative sculptures that he builds in situ out of clay or has cast in bronze—works that play out over considerable periods of time not only during their creation, but also for the viewer.
