Painting can be a very stubborn undertaking. It can also be equally satisfying and spiritual. These are all stereotypes, valid and real. Some painters go into the studio with certain hopes, plans, and expectations; others are far more freewheeling. In Los Angeles, where Michael Kennedy Costa and I both live, there are heaps of painters who are obsessed with astrology. I wonder what your rising sign might say about your practice. Actually, though — I think it’d be a fun

Tudor Ciurescu’s exhibition Pulcinella unfolds like an absurdist theatre play, where logic crumbles, and objects become protagonists in their own right. A meditation on balance, absence, and the tension between stability and collapse, the exhibition embraces the spirit of Eugène Ionesco’s theatre, where the mundane is distorted, and reality is a precarious illusion. Inspired by Ionesco’s exploration of the absurd, Pulcinella questions the structures we rely on, only to reveal their inherent fragility.At the center of the exhibition is a

O dark dark dark. They all go into the dark,The vacant interstellar spaces, the vacant into the vacant,The captains, merchant bankers, eminent men of letters,The generous patrons of art, the statesmen and the rulers,Distinguished civil servants, chairmen of many committees,Industrial lords and petty contractors, all go into the darkAnd dark the Sun and Moon(T. S. Eliot, East Coker, 1940) Black, darkness multiplied, repeated, concentrated. Black is both origin and end, the thin threshold between memory and oblivion. Not merely the

  The revival of magical beliefs is possible today because it no longer represents a social threat—Silvia Federici, 2004. During the Middle Ages, magic emboldened the peasants, giving them a sense of agency and autonomy from the ruling class. At least, that’s what the nobility feared. So, witches had to burn. Though these fires helped illuminate the dark passage from feudalism to capitalism, the figure of the witch has returned in high definition. Absorbed and instrumentalised by capitalist aesthetics, the

“Through Thick and Thin / La Bine și La Rău” is an exhibition project that delves into relationships, solidarity, and resilience within artistic communities, reflecting on our role as an artist-run space and on the commitment of artists to sustain their practice under challenging circumstances.Traversing a segment of MATCA artspace’s journey, the exhibition brings together artists who have been consistent or emblematic in shaping the space’s program over its eight years of existence. The selection aims to highlight the key

  An exhibition after a quote by Alfred Korzybski, a metaphor that illustrates the difference between reality and our understanding of it. The map is not the territory, the word is not the thing. Through subjective geometric symbolism the artist questions systems that surround us, shaping our reality: language, family and other social structures.“These paintings draw their strength from the contrast between lively, expressive painting and strict geometric, ornamental patterns. The one forms the base of each work, the other

  Water has been shaping our existence for as long as there has been an “us” to speak of. It is everywhere and always in motion. Planetary waters and the waters within human bodies merge and mingle, dissolving boundaries between species and ecosystems, and impacting both human and non-human worlds. In ‘Tidal Tear Sediment’, Sabīne Šnē explores these fluid connections by weaving together stories of the Baltic Sea with ideas from hydrofeminism, which higlihts that water is in all of

The exhibition invisible ink explores the subtle connection between our private lives and the political uncertainties of our time. It illuminates the hidden dynamics and processes that profoundly shape both our individual and collective existence – often without being immediately visible. Within social structures, norms and power relations, fears, shame and memories can emerge, expressing themselves in the tension between private life, individual identity and collective experience. When do such issues become visible and audible through collective forms of expression,

  Freddy FanMatthew BrownMarch 6th, 2025 Freddy is pleased to announce Freddy Fan, a solo exhibition by Western Australia-based artist Matthew Brown. Freddy Fan is the last exhibition planned for the church location in Harris, New York. Freddy will continue to operate as an extension of Joshua Abelow’s studio practice, without fixed location or timeline, focusing on collaborative projects. Freddy Fan is concerned with the subversive possibilities of subjective, fan-oriented modes of collection and distribution. Like artworks, objects produced as

“Brutal Honesty”, “Formal Moral”, “Generational Trauma”: these are some of the slogans Gvantsa Jish­kariani embroiders on her works. They also describe the special aura sur­roun­ding her art. Jish­kariani, who was born the same year that Geo­r­gia regained its indepen­dence, can indeed be brutally honest, and she does com­bine for­malism with morality, but generational traumas are also reflec­ted in her works. The star­ting material for these pieces is the decorative tapestries that were popular in the Soviet Union, which the artist