#stephanie-dheygere

#stephanie-dheygere

'Give them a smile, you know, something that can also be a deeper level of understanding,' Sara Ricciardi tells designboom, framing the installation as an immediate emotional trigger before it unfolds into something more layered.

This idea has been on my mind for some time, shaped by observing the political situation not only in Bulgaria but more broadly. In Bulgaria, we are going through a profound political crisis.

When I finished art school, I thought I was going to do monumental sculpture, big works, and I did for a while. But what I started loving the most-actually always loved the most-was the start, where you figure out what you want to say.

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.

"We're constantly striving to strike a balance between work that respects academic rules of composition, established visual codes and good readability, with something more spontaneous, adventurous, playful, even naive."

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.

"These paintings merge the landscape and the intimacy of windows through the framing of the car, bridging the two realms I've typically explored separately. The car becomes a meditation on transition, on existing simultaneously here and elsewhere."

With 'Dance Reflections,' the idea was to give back concretely to another discipline that still gives us a lot. It's the reason why 'Dance Reflections' is a sponsorship program, but also a curatorial program; that's quite rare for a brand to have.

Now, he celebrates his first major presentation in Latin America, in congruence with Mexico City Art Week 2026 and ZSONAMACO, showcasing on an ideal stage inside one of the city's most architecturally layered interiors. Titled The Resident, the site-responsive installation, created during a residency at the Diez Company house, transforms the historic showroom into an immersive tableau where more than 50 works negotiate the boundaries between collectible design, contemporary art, and spatial theater.

Myriam Jacob-Allard appears through a heavy door and greets us with an easy warmth, scooping us up and welcoming us into her world. We are immediately absorbed by an unexpected color-drenched stairwell. Every surface is saturated in a dense, glowing yellow that reads unmistakably as egg yolk, insulating us from the outside in as we make our ascent. We turn into a long hallway whose fragrant freshly waxed floor catches the light, reflecting it back upward so that the corridor seems to glow beneath our feet.

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.

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.

Regina Silveira has spent the better part of three decades considering the relationship between media and meaning, particularly as it relates to Latin America. First presented in 1997, "To Be Continued..." features 100 black-and-white reproductions of photos, newspaper clippings, propaganda, advertisements, and more. Silveira nests each image into an oversized puzzle piece, which cuts off faces and scenes to leave fragments of pop culture icons, flora and fauna, and even the occasional mugshot spliced next to one another.

While Armenia has long been recognized for its rich and storied historical art and culture, the country's contemporary art scene is emerging as one to watch on a global scale. Armenian artists stand out for their ability to synthesize their own cultural heritage with avant-garde approaches to contemporary artmaking, bridging tradition with self-expression. Paralleling broader rising critical and market interest and investment in regions outside of the West, ARAR Gallery of Utrecht, the Netherlands, is at the forefront of Armenian art's mounting international presence.