ISLE OF BUTE, SCOTLAND Mount Stuart In a sandstone crypt, deep beneath the ornate Marble Chapel, Akhavan has cultivated a self-sustaining, closed-system garden consisting of plants and reclaimed materials gathered on the estate.
Arthur Simms
NEW YORK Martos Gallery Simms’s repetitive binding brings to mind the work of Jackie Winsor and Eva Hesse, and he shares with them an embrace of process and industrial materials.
Céline Condorelli
EDINBURGH Talbot Rice Gallery, University of Edinburgh Before becoming an artist, Condorelli studied architecture. Here, she draws on the work of several Modernist architects, including the postwar playgrounds of Aldo van Eyck in Amsterdam and Lina Bo Bardi’s buildings in Brazil.
Stefana McClure
NEW YORK Bienvenu Steinberg & Partner Every object in Stefana McClure’s recent exhibition, “I See You Seeing Me (Meeting the Female Gaze),” projected thoughts staring back at the viewer, turning printed texts that we all should know (but mostly don’t) into knitted and otherwise reconstructed sculptures.
Sculptural Highlights from “The Milk of Dreams,” 59th Venice Biennale
Following Carrington’s subversive fairytales, Alemani proposes dreaming as a powerful tool for nourishing resilience and imagining alternative futures.
Whitney Biennial 2022
NEW YORK Whitney Museum of American Art “Quiet as It’s Kept,” the 2022 Whitney Biennial, fills two floors—one dark and labyrinth-like; the other bright and open—with works that explore the fluid and experimental nature of current art practice.
Stand-Out Pavilions for Sculpture at the 59th Venice Biennale
After a year’s delay due to the Covid pandemic, the 59th Venice Biennale is a triumph for women artists, who heavily outnumber men in both Cecilia Alemani’s curated exhibition “The Milk of Dreams” and the national pavilion displays.
Marta Pérez García
WASHINGTON, DC The Phillips Collection INVISIBLE, SILENCIO, NO—these are the only words in Marta Pérez García’s poetic installation Restos-Traces. The ghostly assembly of 19 female torsos immediately strikes a nerve.
Rana Begum
LONDON Pitzhanger Manor and Gallery The central sculptural installation in the gallery, No. 1081 Mesh (2021), seems to billow under the domed glass ceiling, acting as a conduit between viewers and the outside world, filtering daylight from the window above and drawing attention to the colored glass.
