#sculpture

#sculpture

Until 29 March 2026 Pressure is the largest survey to date devoted to the American sculptor Richard Hunt (1935-2023) and focuses on his ambitious, material-forward practice between 1955 and 1989. It coincides with a growing interest in the Chicago artist's singular approach to dimensionality and transcendence; White Cube, which began representing his work a few weeks before his death, staged solo shows of his work in New York (in 2024) and London (last spring).

Hudson's work is defined by a recurring vocabulary of shapes grounded in the language of abstraction, where organic and geometric forms drawn from both the external and internal world converge. In It's Alright Cause I Know My Own Way Back Home From Here, references to landscapes and still lifes sit alongside forms that channel ongoing themes of loneliness, hopefulness, darkness and positivity. His paintings layer these motifs into compositions that are at once meditative and playful,balancing introspection with optimism.

Jeff Koons's "Banality" sculptures of the late 1980s are anything but ordinary: few can easily forget the sight of the Pink Panther embracing a partially naked woman, for one. But there's nothing quite so out of the ordinary about the artist's recent creations such as his 2016-21 sculpture Aphrodite, an eight-and-half-foot-tall nude that made its public debut at Gagosian gallery in New York last week.

When Robert Therrien passed away in 2019 at 71, he left behind a series of small note cards, each bearing a labeled line drawing. To those closest to him, they felt like legends that, if decoded, might reveal something of the elusive artist's practice. Many feature recurring forms in his work, like a keystone with the words "this is her" scrawled beneath it, or a bent cone titled "this is the path."

Opening on November 14, 2025, at the gallery's Bikini Berlin location, this immersive showcase invites visitors to explore the intricate relationship between perception, stillness, and the malleable nature of time. Drawing inspiration from the phenomenon of chronostasis, where a fleeting moment appears to elongate, the exhibition encapsulates the delicate dance between motion and remembrance. Through their distinctive practices, Wirths and Flad illuminate how focused attention can metamorphose our experience of time itself.

Stacks of flattened cardboard and bags of clothing are compressed into ceramic cubes, their bulging surfaces recording the tension of containment. Glass bubble-wrap sculptures from Hivert's Demi-Jour series line shelves-fragile objects posing as protective shells for absent contents. A bronze cast of work gloves rests nearby, monumentalizing gestures of past labor. In the background, torn collages evoke the weathered palimpsests of wheatpaste advertisements caught between removal and renewal.

Curated by Louise Déry, Director of Galerie de l'UQAM, the exhibition David Altmejd. Agora unites almost thirty heads and busts, which are emblematic of the artist's sculptural practice and were made between 1999 and 2025. Forming a remarkable assembly of mythological and real characters, spiritual and terrestrial figures, as well as human and non-human creatures, this body of work reveals the extent to which Altmejd brings about a metamorphosis of the living, induced by creative and unconscious forces, to construct a world.

Over the past two decades, the Japanese artist Aki Sasamoto has developed a unique performance/installation practice in which she produces installations of absurd sculptural devices-from haemorrhoid cushions to oversized fishing lures-that, in turn, serve as an object-based score and environment for improvised performances that combine humorous spoken narratives with physical actions and mark-making. The artist's first mid-career survey, Aki Sasamoto's Life Laboratory at the Museum of Contemporary Art Tokyo (MOT), traces the evolution of this practice through a sharp combination of installations, documentation and live performances.

Born in Wakefield, Yorkshire in 1903 and working until her death in 1975 in St Ives, Cornwall, Barbara Hepworth lived through a time of astonishing technological and social change. She had a broad range of interests, from politics to music, poetry, science and spirituality-and a life-long engagement with landscape-which she brought into her work, alongside influences from her personal life.

Throughout her practice, Renée Condo draws on the philosophical tenets of her Mi'gmaq ancestry. The Montreal-based artist works with wooden beads that she sands, paints in bold acrylic, and nests into energetic compositions depicting juicy fruits, raindrops, and brilliant, golden suns. Condo is interested in mntu, or spirit, and what she refers to as heart knowledge, acts that emerge from empathy and love. Through sculptural pieces that emphasize interconnection and flow, the artist draws on Indigenous creation stories and myths, considering her beadwork a reimagining of various traditions.

In the lush gardens of L'Hôtel de Maisons, once the Parisian home of Karl Lagerfeld, designer Vikram Goyal unveils The Soul Garden, an installation that transforms India's ancient animal fables into a living, multisensory landscape. Presented by The Future Perfect for Design Miami/Paris 2025, the project, on view from October 21st to 26th, 2025, bridges sculpture, craft, design, and olfactory art in collaboration with Berlin-based artist Sissel Tolaas, who translates the invisible language of scent into a medium of storytelling and emotion.

A woman clutches a large red and white striped box of popcorn as she stares intensely at the cinema screen. Nearby a couple of men gaze in the same direction; one has his head slumped on the other's shoulder. Close behind, an older man with folded arms glares at them disapprovingly. This is Elmgreen & Dragset's installation, The Audience at Prada Mode, and the bodies are inanimate sculptures. They are rendered with such realism that

Hours after Princess Diana gave birth, she walked out onto the steps of the Lindo Wing, the private maternity ward of St. Mary's Hospital in London, where she was met with photographers from around the world. As she introduced Prince William, then a couple years later, Prince Harry, she looked radiant, with flawless makeup and flowing gowns. It was a portrait of maternal serenity.

If you're considering bathroom renovations, I would perhaps advise against hiring Lisa Herfeldt to do the work. Yes, it's true, she's something of a whiz with a silicone gun creating compelling sculptures from this unlikely art material. But the more you look at her creations the more you realise that something is a little off. The thick lengths of sealant she produces stretch beyond the shelves on which they sit, sagging off the edges towards the floor. The knotty foam pipes bulge until they split.

Known for her conceptual practice that incorporates familiar objects and symbols from Black visual culture-including football equipment, peacock chairs, lowriders and butterflies-Mohamoud reimagines her source materials by transforming their scale and layering cultural references to recontextualize their interpreted meaning. The exhibition's title comes from Gil Scott-Heron's spoken word poem Comment #1 (1970), which earnestly describes the violence of racial and social inequality in America during that time.

At its core, NO PARKING is about presence through absence. While no human figures are depicted, the works are rich with the suggestion of workers, commuters, and residents whose lives intersect in the city's dense, chaotic streets. Each vehicle becomes a portrait - not of a person's face, but of their story, their routine, and their resilience. Burned vans and scorched sports cars hint at destruction and renewal, while RVs and idle food trucks evoke themes of mobility, survival, and urban transience.

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I like things I've seen very fast and I don't remember what they are; but I remember the outline, the image,

We feel frustrated and helpless - but as an artist, I feel I have a responsibility to move people to act with generosity. I'm hoping the sculpture I created will move people even a little bit and might, in this case, encourage them to make a contribution towards saving Gaza from further starvation and desolation.

Through millennia of artistic expression and within the natural world, the ubiquitous spiral continues to mesmerize. In ancient traditions, the form often represents cycles. The triskele, for example, consists of three interlocking spirals thought to symbolize death, life, and rebirth or the triad of mind, body, and spirit. Spirals also emerge naturally in seashells and plants, sometimes linked to the concept of the golden mean, also known as the " divine ratio."

In a remote monastery perched perilously on top of a crag in Piedmont, Italy, an old man lies dying. Thirty-two monks stand vigil at the deathbed; Mimo Vitaliani has lived among them for 40 years, yet few of them know exactly why. Nor did Vitaliani come alone, but with a mysterious statue that is kept under lock and key in the depths of the Sacra di San Michele,

Mönch (Monk) is a solid polyester figure, life-sized and jarringly lifelike in its details, depicting a somewhat gaunt man dressed in roughly Franciscan habit: a floor-length cowled robe, a rope cintura with three knots around his midsection. He hunches ever so slightly forward but otherwise is just standing, with his arms loose at his sides. His eyes are closed. From head to toe he is a perfect matte black; he drinks the light and returns virtually none of it.

"A major work by the artist Barbara Hepworth, Sculpture with Colour (Oval Form) Pale Blue and Red (1943), will stay in the UK after a public appeal raised £3.8m to save the piece, including 2,800 donations from members of the public."

The 33rd Annual Coney Island Sandsculpting Competition showcased extraordinary sand creations, featuring two narwhals, two cats, and an elephant, all crafted from sand.

Mona Sugata's intricate sculptures are made from cotton fabric, thread, glue, and pigment, materials that hold traces of fragility, heat, and breath.

The Georg Kolbe Museum offers a serene refuge featuring a variety of sculptures and the significant 'Dancers' Fountain,' symbolizing elegance and burden within its design.

Stenson emphasizes emotional perception through animals in his carvings, portraying the sweet slyness of a fox or a charming bear proud of its fresh catch.