#tim-klingender

#tim-klingender

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.

We want to make this the most comprehensive historical survey of Chinese art in the first quarter of the 21st century. That was the first exhibition to introduce Chinese experimental art to the international art world, right after the end of the Cold War.

Art on the Underground was launched in 2000, with site-specific works exploring themes of community, space and place. David Gentleman's 'Cross for Queen Eleanor', for example, is synonymous with Charing Cross, while Eric Aumonier's sculpture 'The Archer' looks imperiously over East Finchley station, linking the site to its historic surroundings as an ancient hunting area.

The next PST Art will highlight exchange around the Pacific across several centuries, from the arrival of Chinese porcelain in the Spanish missions to the influence of Japanese visual culture on the city's architecture and design, to the ongoing impact of contemporary Korean pop culture.

As we have seen, defending the right of people to speak, even when we deeply disagree with them, is very, very difficult. Many people perhaps most can't manage it. It can feel like a betrayal of self, a betrayal of values, and certainly a betrayal of one's community or cause. Nor is it sensible to expect it of everyone. But we must demand it of the custodians of our culture. This is the way forward.

LG Gallery+ is a new visual curation service for LG TVs - and a brilliant way to make your home more unique and personalized. It lets you express your ever-changing creativity with a massive library of classic art, digital and 3D artwork, scenery, games, and more. With more than 4,500 options to choose from, you can turn your LG TV into a world-class art gallery, a peaceful forest, or an homage to your favorite video game - all in the same day.

In a white and sterile office that could belong to any one of the warehouses that dot this industrial strip between Brisbane's airport and horse-racing precinct, a young woman is engrossed in a puzzle. Only this puzzle comprises, perhaps, three different sets, each almost (but not quite) identical to the other and none likely to be completed. Emily Totivan wears blue plastic gloves. She is an archaeology student helping to catalogue artefacts.

Suspended within the exhibition space, the piece occupies the room with a soft mass of red and white textiles. Dense embroidery traces arteries and vessels across the surface, while clusters of beads and pearls gather along the contours. Even with this ambitious new scale, it maintains the tactile intimacy of Shin's smaller works.

Dörte Eißfeldt's photography is grounded in the experience of seeing: a relational seeing that holds in view not only the self and the world, but also the photographic object itself, which can act as a vital intermediary between the two. Making us encounter gentler close-ups of a neck pressed into sheets of silver, nebulated, spectral hands and snowballs that seem to glow far beyond the print's surface, her largely self-taught photographic practice probes phenomenological questions of appearance, perception and form.

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.

"This project, called "The Spectacle," where I constructed clothing pieces using unconventional materials, giving them a new look through photography," says photographer Sidinei Miranda about the editorial.

The gallery's inaugural presentation marked the first time Australian First Nations art had been presented at TEFAF Maastricht, and with sales totaling nearly $1.4 million, further underscored the growing relevance and interest in the category. Building on the momentum of the 2025 presentation, D Lan Galleries will now focus on works dating from the 1970s through today by artists whose practices have shaped the evolution of Australian Indigenous art.

I've been aware of the Gochman Family Collection for a number of years through my work with artists in the collection, including during the organisation of Jaune Quick-to-See Smith: Memory Map. What drew me to the role was the chance to focus on the parts of curatorial work that excite me most--supporting living artists and helping them realise their visions.

Since she graduated in the late 1980s, amid the Aids crisis, Opie has made portraits of her community, friends and family, adopting unflinching realism, saturated colours, and dramatic tonal contrasts from the 16th-century portrait painters. Many of Opie's most famous portraits included in her new exhibition at the National Portrait Gallery use these devices deliberately, a declaration that these people deserve, as the title of the show underlines, to be seen.

The redevelopment prompted Simon and Catriona Mordant, leading Australian arts philanthropists, to make a record gift of 25 works from their private collection, and the gallery will present these to the public in a special exhibition to open in May. The building expansion makes Newcastle Art Gallery the largest public art institution in New South Wales outside Sydney.

When Zindzi Okenyo takes the Sydney Theatre Company (STC) stage in June for John Patrick Shanley's Tony award-winning play Doubt the role played by Viola Davis in the film it will be a particularly special moment: her fourth main-stage role playing a black woman in a 20-year theatre career. I'm really excited about it, I haven't had a black role for so long, she says.

This year's Art SG, which closed last month, featured an intriguing debut: South Asian Insights, a modest pavilion dedicated to contemporary art from the region. Part of the TVS Initiative for Indian and South Asian Contemporary Art, it was backed by India's TVS Motor Company, one of the world's largest two-wheel manufacturers, which has its global headquarters in Singapore. Eight galleries-five from India-were each given a wall to showcase art.

One recent weekday morning, the British painter Peter Doig arrived at a bonded warehouse-a cavernous brick building-about a mile south of the River Thames, but not subject to the import taxes of the United Kingdom. He buzzed through security and entered a windowless white room, where he settled in for a long day. Awaiting him were a series of etching prints that had been brought over from the United States to be signed by Doig before being put up for sale.

One of Vija Celmins's wonderful Night Sky works. Maybe one of her charcoal drawings of the cosmos, with a comet flaring across the surface. She conjures up such immensity, and such intimacy, with countless tiny points of light shining out of the darkness. Which cultural experience changed the way you see the world? In a word, Paris. After I left school, I spent several weeks working in Paris and discovered the pleasures of looking, on my own, for myself.

Situated in the southern tip of Mumbai, the neighbourhoods of Colaba and Fort are home to dock yards, grand colonial architecture and most of the city's museums and contemporary art galleries. But as Mumbai's art scene grows, it is also expanding beyond its historic art district into the fashionable western suburb of Bandra and high-rise financial districts like Lower Parel and Worli.

London's Mosaic Rooms is reopening on 18 February after a year-long refurbishment, with new facilities, a new charitable status and a new director. But the organisation's focus, says its director Pip Day, remains the same: art and culture from the Arab world and beyond. Since the Mosaic Rooms launched in 2008 it has been a consistent platform in the UK for major artists from the Arab region, such as Heba Y. Amin, Sandi Hilal and Alessandro Petti, and Mohammed Omar Khalil.