#emil-schacht

#emil-schacht

The title came from starting to look at what would be in the show and realizing that most of the works dealt with people being symptomatic, whether psychosomatically or somatically.

The layout reads immediately through its centerpiece. A large counter traces a curved path across the room, guiding both movement and attention. Formed from a reclaimed millstone, the surface has been cut into three segments and reassembled into a continuous, fan-like sequence.

The album, appropriately entitled Hoffnung, opens with a nuanced account of the expansive Im Freien. The combination of Hasselhorn's communicative diction and Bushakevitz's poetic phrasing brings a rapt intimacy to this six-minute celebration of nocturnal beauty.

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

In the hushed, monastic cells of Florence's Museo di San Marco, Mark Rothko's canvases pulse with spiritual intensity. Rothko's paintings are a new arrival, part of the city's latest major exhibition.

Much of Instagram's video content is organized around transformation-the virtual magic of the before-and-after and clips that show cause and effect. A person makes pasta from scratch in 20 seconds via edits that compress time-intensive labor.

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

Casa Kahlo offers an unprecedented look into the famed Mexican painter's family home, Casa Roja, which stands just blocks away from Casa Azul in Mexico City. Kahlo would retreat to Casa Roja when Casa Azul got crazy.

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 Grand Palais in Paris unveiled an enormous exhibition focusing on the final 13 years of Henri Matisse's life and work, featuring abundant examples of his celebrated gouache cut-outs.

The Mirror uses erotic cinema as a narrative tool to explore something rarely addressed in this genre: the emotional aftermath of a breakup, where desire, memory, and fantasy intertwine as Roberto tries to understand what has happened to his relationship.

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

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.

Pornceptual challenges mainstream perceptions of pornography, reframing it as inclusive, artistic, intimate, and respectful rather than exploitative or taboo. Its events, from Berlin to international stages, bring a sex-positive, body-inclusive ethos to nightlife. Strict consent practices, no-photo policies, and spaces designed for authentic self-expression create a rare kind of freedom - one that allows visitors to explore identity, desire, and intimacy without judgment.

The evening, spearheaded by directors Sam Bardouil and Till Fellrath alongside patrons Monique Burger and Christine Würfel-Strauss, arrived at a fraught moment for Berlin, whose cultural scene faces funding cuts of roughly €130 million.

From February 17 to March 10, 2026, the vibrant intersection of fashion and art will come alive at Platte Berlin with SPOTLIGHT ON BLACK CREATIVITY. This unmissable pop-up exhibition showcases the brilliance of Black designers and visual artists, setting the stage for an extraordinary celebration of heritage and contemporary expression. Dive into a world where creativity knows no bounds, featuring groundbreaking brands such as adesa, Amaluma Studio, Gelisa George, Dinga, Azea Zalea, and GEMZ.

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.

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.

They teach us how to make photo-like drawings. Such renderings look decent but also generic, conventional-like something an AI tool might produce. And they are boring. Why is that? Because they don't mean anything. Meaning An object, like a cup, can mean many different things to us. Now the question is: Which meaning is relevant to you right now? And the answer to this question is what makes your drawing interesting.

In ChertLüdde, evocations abound: the show is a transcription of California (I've never been, but I imagine it to be sun drenched and a bit dehydrated), which is transposed onto the grid of the gallery in Schöneberg. Shells, dried stalks, bits of pottery, sea urchins, art left behind by visitors, are arranged on a stage (a duplication of the one found in Horvitz's garden in Los Angeles),

Monia Ben Hamouda's work weaves calligraphy, material transformation and ancestral memory into sculptures and installations that oscillate between language and form. In conversation, we traced the conceptual and sensory threads of her practice, unfolding through key works that reflect on heritage, embodiment and translation. Using materials such as iron, stone and pigment, her installations become sites where history is not only referenced but physically felt.

After six centuries of Swedish rule, and more than a hundred years as a grand duchy of Russia, your nation is finally on the brink of independence. To the south, Europe is tearing itself to bits in the First World War; to the east, there's the Russian Revolution. Most of the art you've seen at this point is either second-rate or beats a patriotic drum-lakes and forests and scenes from the "Kalevala," a national epic featuring some cosmic eggs and a drowned girl.

Behind its seemingly polished framework, To Empty Out emerges as an exhibition beautifully rife with contradictions that overlay serious and playful themes according to Grzybacz, who often sets out to "clash the forces" of gravity and levity through his chosen subjects. Through sublime florals, bawdy scenes, and raw portraits of social life, Grzybacz balances contemplation and observation, navigating between painterly precision and intuitive expression in this deeply personal exhibition.