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Artforum
Defining the world of contemporary art since 1962
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Ellen Pau, whose first US survey opens Thursday at @sculpturecenter, has spent four decades making video works about Hong Kong. In Artforum's May issue, Pauline J. Yao reveals how Pau has employed “moving-image experiments at the margins of empire" to expose the volatile cultural moods of the post-handover period. In “Diversion” (1990), for instance, she grapples with the post-Tiananmen crackdown—intercutting government newsreels of a swimming contest with staged scenes of a body slamming itself against a stone wall: “While the work’s English title might indicate a sense of amusement or distraction, the Chinese title is an idiom that refers to being caught in a dilemma, like a boat that has left one shore but has not yet reached the other.”
Link in bio.
Images:
–Ellen Pau, The Shape of Light, 2022, digital animation, color, silent, 14 minutes. Installation view, M+ Facade, Hong Kong.
–Ellen Pau, Recycling Cinema, 1999/2018, digital video installation, color, sound, 14 minutes 16 seconds.
–Ellen Pau (seated on floor) and Danny Yung in the Zuni Icosahedron offices, Hong Kong, ca. 1980s.
–Ellen Pau Diversion, 1990, video, color, sound, 5 minutes 30 seconds.
–Ellen Pau, Bik Lai Chu (detail), 1993/2018, still from the 1-minute color video component of a mixed-media installation additionally comprising a selection of the artist’s personal belongings.
–Ellen Pau, Emergence, 2016, mixed media. Installation view, Hong Kong Heritage Discovery Center. Photo: Ellen Pau.
#EllenPau @p__yao
Ellen Pau, whose first US survey opens Thursday at @sculpturecenter, has spent four decades making video works about Hong Kong. In Artforum's May issue, Pauline J. Yao reveals how Pau has employed “moving-image experiments at the margins of empire" to expose the volatile cultural moods of the post-handover period. In “Diversion” (1990), for instance, she grapples with the post-Tiananmen crackdown—intercutting government newsreels of a swimming contest with staged scenes of a body slamming itself against a stone wall: “While the work’s English title might indicate a sense of amusement or distraction, the Chinese title is an idiom that refers to being caught in a dilemma, like a boat that has left one shore but has not yet reached the other.”
Link in bio.
Images:
–Ellen Pau, The Shape of Light, 2022, digital animation, color, silent, 14 minutes. Installation view, M+ Facade, Hong Kong.
–Ellen Pau, Recycling Cinema, 1999/2018, digital video installation, color, sound, 14 minutes 16 seconds.
–Ellen Pau (seated on floor) and Danny Yung in the Zuni Icosahedron offices, Hong Kong, ca. 1980s.
–Ellen Pau Diversion, 1990, video, color, sound, 5 minutes 30 seconds.
–Ellen Pau, Bik Lai Chu (detail), 1993/2018, still from the 1-minute color video component of a mixed-media installation additionally comprising a selection of the artist’s personal belongings.
–Ellen Pau, Emergence, 2016, mixed media. Installation view, Hong Kong Heritage Discovery Center. Photo: Ellen Pau.
#EllenPau @p__yao
Ellen Pau, whose first US survey opens Thursday at @sculpturecenter, has spent four decades making video works about Hong Kong. In Artforum's May issue, Pauline J. Yao reveals how Pau has employed “moving-image experiments at the margins of empire" to expose the volatile cultural moods of the post-handover period. In “Diversion” (1990), for instance, she grapples with the post-Tiananmen crackdown—intercutting government newsreels of a swimming contest with staged scenes of a body slamming itself against a stone wall: “While the work’s English title might indicate a sense of amusement or distraction, the Chinese title is an idiom that refers to being caught in a dilemma, like a boat that has left one shore but has not yet reached the other.”
Link in bio.
Images:
–Ellen Pau, The Shape of Light, 2022, digital animation, color, silent, 14 minutes. Installation view, M+ Facade, Hong Kong.
–Ellen Pau, Recycling Cinema, 1999/2018, digital video installation, color, sound, 14 minutes 16 seconds.
–Ellen Pau (seated on floor) and Danny Yung in the Zuni Icosahedron offices, Hong Kong, ca. 1980s.
–Ellen Pau Diversion, 1990, video, color, sound, 5 minutes 30 seconds.
–Ellen Pau, Bik Lai Chu (detail), 1993/2018, still from the 1-minute color video component of a mixed-media installation additionally comprising a selection of the artist’s personal belongings.
–Ellen Pau, Emergence, 2016, mixed media. Installation view, Hong Kong Heritage Discovery Center. Photo: Ellen Pau.
#EllenPau @p__yao
Ellen Pau, whose first US survey opens Thursday at @sculpturecenter, has spent four decades making video works about Hong Kong. In Artforum's May issue, Pauline J. Yao reveals how Pau has employed “moving-image experiments at the margins of empire" to expose the volatile cultural moods of the post-handover period. In “Diversion” (1990), for instance, she grapples with the post-Tiananmen crackdown—intercutting government newsreels of a swimming contest with staged scenes of a body slamming itself against a stone wall: “While the work’s English title might indicate a sense of amusement or distraction, the Chinese title is an idiom that refers to being caught in a dilemma, like a boat that has left one shore but has not yet reached the other.”
Link in bio.
Images:
–Ellen Pau, The Shape of Light, 2022, digital animation, color, silent, 14 minutes. Installation view, M+ Facade, Hong Kong.
–Ellen Pau, Recycling Cinema, 1999/2018, digital video installation, color, sound, 14 minutes 16 seconds.
–Ellen Pau (seated on floor) and Danny Yung in the Zuni Icosahedron offices, Hong Kong, ca. 1980s.
–Ellen Pau Diversion, 1990, video, color, sound, 5 minutes 30 seconds.
–Ellen Pau, Bik Lai Chu (detail), 1993/2018, still from the 1-minute color video component of a mixed-media installation additionally comprising a selection of the artist’s personal belongings.
–Ellen Pau, Emergence, 2016, mixed media. Installation view, Hong Kong Heritage Discovery Center. Photo: Ellen Pau.
#EllenPau @p__yao
Ellen Pau, whose first US survey opens Thursday at @sculpturecenter, has spent four decades making video works about Hong Kong. In Artforum's May issue, Pauline J. Yao reveals how Pau has employed “moving-image experiments at the margins of empire" to expose the volatile cultural moods of the post-handover period. In “Diversion” (1990), for instance, she grapples with the post-Tiananmen crackdown—intercutting government newsreels of a swimming contest with staged scenes of a body slamming itself against a stone wall: “While the work’s English title might indicate a sense of amusement or distraction, the Chinese title is an idiom that refers to being caught in a dilemma, like a boat that has left one shore but has not yet reached the other.”
Link in bio.
Images:
–Ellen Pau, The Shape of Light, 2022, digital animation, color, silent, 14 minutes. Installation view, M+ Facade, Hong Kong.
–Ellen Pau, Recycling Cinema, 1999/2018, digital video installation, color, sound, 14 minutes 16 seconds.
–Ellen Pau (seated on floor) and Danny Yung in the Zuni Icosahedron offices, Hong Kong, ca. 1980s.
–Ellen Pau Diversion, 1990, video, color, sound, 5 minutes 30 seconds.
–Ellen Pau, Bik Lai Chu (detail), 1993/2018, still from the 1-minute color video component of a mixed-media installation additionally comprising a selection of the artist’s personal belongings.
–Ellen Pau, Emergence, 2016, mixed media. Installation view, Hong Kong Heritage Discovery Center. Photo: Ellen Pau.
#EllenPau @p__yao
Ellen Pau, whose first US survey opens Thursday at @sculpturecenter, has spent four decades making video works about Hong Kong. In Artforum's May issue, Pauline J. Yao reveals how Pau has employed “moving-image experiments at the margins of empire" to expose the volatile cultural moods of the post-handover period. In “Diversion” (1990), for instance, she grapples with the post-Tiananmen crackdown—intercutting government newsreels of a swimming contest with staged scenes of a body slamming itself against a stone wall: “While the work’s English title might indicate a sense of amusement or distraction, the Chinese title is an idiom that refers to being caught in a dilemma, like a boat that has left one shore but has not yet reached the other.”
Link in bio.
Images:
–Ellen Pau, The Shape of Light, 2022, digital animation, color, silent, 14 minutes. Installation view, M+ Facade, Hong Kong.
–Ellen Pau, Recycling Cinema, 1999/2018, digital video installation, color, sound, 14 minutes 16 seconds.
–Ellen Pau (seated on floor) and Danny Yung in the Zuni Icosahedron offices, Hong Kong, ca. 1980s.
–Ellen Pau Diversion, 1990, video, color, sound, 5 minutes 30 seconds.
–Ellen Pau, Bik Lai Chu (detail), 1993/2018, still from the 1-minute color video component of a mixed-media installation additionally comprising a selection of the artist’s personal belongings.
–Ellen Pau, Emergence, 2016, mixed media. Installation view, Hong Kong Heritage Discovery Center. Photo: Ellen Pau.
#EllenPau @p__yao
Ellen Pau, whose first US survey opens Thursday at @sculpturecenter, has spent four decades making video works about Hong Kong. In Artforum's May issue, Pauline J. Yao reveals how Pau has employed “moving-image experiments at the margins of empire" to expose the volatile cultural moods of the post-handover period. In “Diversion” (1990), for instance, she grapples with the post-Tiananmen crackdown—intercutting government newsreels of a swimming contest with staged scenes of a body slamming itself against a stone wall: “While the work’s English title might indicate a sense of amusement or distraction, the Chinese title is an idiom that refers to being caught in a dilemma, like a boat that has left one shore but has not yet reached the other.”
Link in bio.
Images:
–Ellen Pau, The Shape of Light, 2022, digital animation, color, silent, 14 minutes. Installation view, M+ Facade, Hong Kong.
–Ellen Pau, Recycling Cinema, 1999/2018, digital video installation, color, sound, 14 minutes 16 seconds.
–Ellen Pau (seated on floor) and Danny Yung in the Zuni Icosahedron offices, Hong Kong, ca. 1980s.
–Ellen Pau Diversion, 1990, video, color, sound, 5 minutes 30 seconds.
–Ellen Pau, Bik Lai Chu (detail), 1993/2018, still from the 1-minute color video component of a mixed-media installation additionally comprising a selection of the artist’s personal belongings.
–Ellen Pau, Emergence, 2016, mixed media. Installation view, Hong Kong Heritage Discovery Center. Photo: Ellen Pau.
#EllenPau @p__yao
Ellen Pau, whose first US survey opens Thursday at @sculpturecenter, has spent four decades making video works about Hong Kong. In Artforum's May issue, Pauline J. Yao reveals how Pau has employed “moving-image experiments at the margins of empire" to expose the volatile cultural moods of the post-handover period. In “Diversion” (1990), for instance, she grapples with the post-Tiananmen crackdown—intercutting government newsreels of a swimming contest with staged scenes of a body slamming itself against a stone wall: “While the work’s English title might indicate a sense of amusement or distraction, the Chinese title is an idiom that refers to being caught in a dilemma, like a boat that has left one shore but has not yet reached the other.”
Link in bio.
Images:
–Ellen Pau, The Shape of Light, 2022, digital animation, color, silent, 14 minutes. Installation view, M+ Facade, Hong Kong.
–Ellen Pau, Recycling Cinema, 1999/2018, digital video installation, color, sound, 14 minutes 16 seconds.
–Ellen Pau (seated on floor) and Danny Yung in the Zuni Icosahedron offices, Hong Kong, ca. 1980s.
–Ellen Pau Diversion, 1990, video, color, sound, 5 minutes 30 seconds.
–Ellen Pau, Bik Lai Chu (detail), 1993/2018, still from the 1-minute color video component of a mixed-media installation additionally comprising a selection of the artist’s personal belongings.
–Ellen Pau, Emergence, 2016, mixed media. Installation view, Hong Kong Heritage Discovery Center. Photo: Ellen Pau.
#EllenPau @p__yao
For London-based artist and icon of the British Black Arts movement Sonia Boyce, René Magritte’s painting The Treachery of Images speaks to the tensions of representation itself. In the full episode of Under the Influence, the artist highlights the importance of improvisation in making work and professes her love for Lygia Pape, Lygia Clark, and René Magritte’s The Treachery of Images. A piece of advice? The criticism that hurts the most can sometimes be most true.
The Queens Museum (@queensmuseum) in New York will present a newly commissioned work by Sonia Boyce, titled Demonstrate, which opens on June 27 2026. The Tate Britain’s (@tate) first survey of Sonia Boyce’s forty-year career will open in March 2027.
Follow the link in bio for the full video.
René Magritte, "La Trahison des images (Ceci n'est pas une pipe)," 1929, © 2026 C. Herscovici / Artists Rights Society (ARS), New York.
@soniaboyceartist
#SoniaBoyce
#RenéMagritte
#Artist
#ArtforumVideo
Video Direction: @Brianjgreen_
Cinematography: @Alexandra.sapp
Editing: @__noahrosenberg__
Allison Katz, Marginalia, 2026, oil, acrylic and sand on linen, 72 7/8 x 57 1/8 x 1 3/8" @hauserwirth through July 24.
@allison.katz
#AllisonKatz
#HauserWirth
Views of "Lynette Yiadom-Boakye: Many A Moonlit Caveat" @jackshainman, Chelsea, through July 31.
Images:
–Lynette Yiadom-Boakye, 9pm Normandy, 2026, oil on linen, 63 x 51 1/4 x 1 1/2"
–Lynette Yiadom-Boakye, From High Tea's End to Revolution, 2026, oil on linen, 55 x 63 x 1 1/2"
–Lynette Yiadom-Boakye, Black Deference to the Cunning, 2025, oil on linen, 78 7/8 × 51 1/8 x 1 1/2"
@lynetteyiadomboakye
#JackShainman
Views of "Lynette Yiadom-Boakye: Many A Moonlit Caveat" @jackshainman, Chelsea, through July 31.
Images:
–Lynette Yiadom-Boakye, 9pm Normandy, 2026, oil on linen, 63 x 51 1/4 x 1 1/2"
–Lynette Yiadom-Boakye, From High Tea's End to Revolution, 2026, oil on linen, 55 x 63 x 1 1/2"
–Lynette Yiadom-Boakye, Black Deference to the Cunning, 2025, oil on linen, 78 7/8 × 51 1/8 x 1 1/2"
@lynetteyiadomboakye
#JackShainman
Views of "Lynette Yiadom-Boakye: Many A Moonlit Caveat" @jackshainman, Chelsea, through July 31.
Images:
–Lynette Yiadom-Boakye, 9pm Normandy, 2026, oil on linen, 63 x 51 1/4 x 1 1/2"
–Lynette Yiadom-Boakye, From High Tea's End to Revolution, 2026, oil on linen, 55 x 63 x 1 1/2"
–Lynette Yiadom-Boakye, Black Deference to the Cunning, 2025, oil on linen, 78 7/8 × 51 1/8 x 1 1/2"
@lynetteyiadomboakye
#JackShainman
Explore SXSW London, the global festival at the intersection of business, technology, and creativity. Set across Shoreditch, the 2026 edition will bring together provocative ideas, immersive installations, digital innovation, and bold works by global artists shaping the future of culture.
@sxswlondon
Explore SXSW London, the global festival at the intersection of business, technology, and creativity. Set across Shoreditch, the 2026 edition will bring together provocative ideas, immersive installations, digital innovation, and bold works by global artists shaping the future of culture.
@sxswlondon
Explore SXSW London, the global festival at the intersection of business, technology, and creativity. Set across Shoreditch, the 2026 edition will bring together provocative ideas, immersive installations, digital innovation, and bold works by global artists shaping the future of culture.
@sxswlondon
Explore SXSW London, the global festival at the intersection of business, technology, and creativity. Set across Shoreditch, the 2026 edition will bring together provocative ideas, immersive installations, digital innovation, and bold works by global artists shaping the future of culture.
@sxswlondon
Installation views from "Ketuta Alexi-Meskhishvili: Georgia" @galeriemolitor, through June 19.
@ketuters
#GalerieMolitor
Ahead of “Walrus,” her solo exhibition opening at Denmark’s Data Museum on May 30, Paris-based artist Hélène Fauquet shares three recommendations for Read/Watch/Listen: Giorgio De Chirico’s “The Memoirs” (1971), with its account of André Breton’s “heights of comedy”; Dario Argento’s “The Stendhal Syndrome” (1996), “a horror masterpiece full of flaws”; and Drexciya’s “Species of The Pod” (1999): “Minimal, underwater. Very aquatic.”
Images:
–Hélène Fauquet. Photo: Nicolas Ceccaldi.
–Cover of The Memoirs of Giorgio De Chirico (Da Capo Press, 1994).
–Dario Argento, The Stendhal Syndrome, 1996, color, sound, 120 minutes.
–Cover of Drexciya, Neptune’s Lair (Tresor Records, 1999).
#HélèneFauquet #GiorgioDeChirico #AndréBreton @darioargento_official #Drexciya
Ahead of “Walrus,” her solo exhibition opening at Denmark’s Data Museum on May 30, Paris-based artist Hélène Fauquet shares three recommendations for Read/Watch/Listen: Giorgio De Chirico’s “The Memoirs” (1971), with its account of André Breton’s “heights of comedy”; Dario Argento’s “The Stendhal Syndrome” (1996), “a horror masterpiece full of flaws”; and Drexciya’s “Species of The Pod” (1999): “Minimal, underwater. Very aquatic.”
Images:
–Hélène Fauquet. Photo: Nicolas Ceccaldi.
–Cover of The Memoirs of Giorgio De Chirico (Da Capo Press, 1994).
–Dario Argento, The Stendhal Syndrome, 1996, color, sound, 120 minutes.
–Cover of Drexciya, Neptune’s Lair (Tresor Records, 1999).
#HélèneFauquet #GiorgioDeChirico #AndréBreton @darioargento_official #Drexciya
Ahead of “Walrus,” her solo exhibition opening at Denmark’s Data Museum on May 30, Paris-based artist Hélène Fauquet shares three recommendations for Read/Watch/Listen: Giorgio De Chirico’s “The Memoirs” (1971), with its account of André Breton’s “heights of comedy”; Dario Argento’s “The Stendhal Syndrome” (1996), “a horror masterpiece full of flaws”; and Drexciya’s “Species of The Pod” (1999): “Minimal, underwater. Very aquatic.”
Images:
–Hélène Fauquet. Photo: Nicolas Ceccaldi.
–Cover of The Memoirs of Giorgio De Chirico (Da Capo Press, 1994).
–Dario Argento, The Stendhal Syndrome, 1996, color, sound, 120 minutes.
–Cover of Drexciya, Neptune’s Lair (Tresor Records, 1999).
#HélèneFauquet #GiorgioDeChirico #AndréBreton @darioargento_official #Drexciya
Ahead of “Walrus,” her solo exhibition opening at Denmark’s Data Museum on May 30, Paris-based artist Hélène Fauquet shares three recommendations for Read/Watch/Listen: Giorgio De Chirico’s “The Memoirs” (1971), with its account of André Breton’s “heights of comedy”; Dario Argento’s “The Stendhal Syndrome” (1996), “a horror masterpiece full of flaws”; and Drexciya’s “Species of The Pod” (1999): “Minimal, underwater. Very aquatic.”
Images:
–Hélène Fauquet. Photo: Nicolas Ceccaldi.
–Cover of The Memoirs of Giorgio De Chirico (Da Capo Press, 1994).
–Dario Argento, The Stendhal Syndrome, 1996, color, sound, 120 minutes.
–Cover of Drexciya, Neptune’s Lair (Tresor Records, 1999).
#HélèneFauquet #GiorgioDeChirico #AndréBreton @darioargento_official #Drexciya
Between 1986 and 1992, philosopher and media theorist Vilém Flusser contributed the column “Curies’ Children” to Artforum, writing short meditations on the rise of digital media and its implications for the transmission of meaning in fine arts and mass media alike. This week, read the second installment of Flusser’s column, “What Comes After Z.,” an essay on the ancient invention of the alphabet and the changing role of writing at the dawn of our image-saturated, increasingly “illiterate” era.
Link in bio.
#VilemFlusser
#FromtheArtforumArchive
Between 1986 and 1992, philosopher and media theorist Vilém Flusser contributed the column “Curies’ Children” to Artforum, writing short meditations on the rise of digital media and its implications for the transmission of meaning in fine arts and mass media alike. This week, read the second installment of Flusser’s column, “What Comes After Z.,” an essay on the ancient invention of the alphabet and the changing role of writing at the dawn of our image-saturated, increasingly “illiterate” era.
Link in bio.
#VilemFlusser
#FromtheArtforumArchive
For the 2026 Venice Biennale, artist Zadik Zadikian represents the Republic of Armenia with his solo exhibition “The Studio.”
The project transforms the exhibition space into a working studio, where Zadikian and a team of assistants form, cast, and assemble modular bricks, blocks, and slabs over the course of the Biennale. As critic Carlo McCormick observes, “The Studio is workroom, factory, and laboratory at once—a locus of constant production, invention, and reinvention, a place of infinite possibility where art is not simply what is made; it is the study of its creation, and what we make of it.”
Co-curated by Tony Shafrazi and Tina Chakarian, the presentation operates in dialogue with—and in honor of—the vision and legacy of Koyo Kouoh and her overarching framework for In Minor Keys, the 61st International Art Exhibition of the Biennale.
“The Studio” is on view @labiennale through November 22, 2026.
#ZadikZadikian
#ZadikianStudio
#LaBiennalediVenezia
#TonyShafrazi
#TinaChakarian
For the 2026 Venice Biennale, artist Zadik Zadikian represents the Republic of Armenia with his solo exhibition “The Studio.”
The project transforms the exhibition space into a working studio, where Zadikian and a team of assistants form, cast, and assemble modular bricks, blocks, and slabs over the course of the Biennale. As critic Carlo McCormick observes, “The Studio is workroom, factory, and laboratory at once—a locus of constant production, invention, and reinvention, a place of infinite possibility where art is not simply what is made; it is the study of its creation, and what we make of it.”
Co-curated by Tony Shafrazi and Tina Chakarian, the presentation operates in dialogue with—and in honor of—the vision and legacy of Koyo Kouoh and her overarching framework for In Minor Keys, the 61st International Art Exhibition of the Biennale.
“The Studio” is on view @labiennale through November 22, 2026.
#ZadikZadikian
#ZadikianStudio
#LaBiennalediVenezia
#TonyShafrazi
#TinaChakarian
For the 2026 Venice Biennale, artist Zadik Zadikian represents the Republic of Armenia with his solo exhibition “The Studio.”
The project transforms the exhibition space into a working studio, where Zadikian and a team of assistants form, cast, and assemble modular bricks, blocks, and slabs over the course of the Biennale. As critic Carlo McCormick observes, “The Studio is workroom, factory, and laboratory at once—a locus of constant production, invention, and reinvention, a place of infinite possibility where art is not simply what is made; it is the study of its creation, and what we make of it.”
Co-curated by Tony Shafrazi and Tina Chakarian, the presentation operates in dialogue with—and in honor of—the vision and legacy of Koyo Kouoh and her overarching framework for In Minor Keys, the 61st International Art Exhibition of the Biennale.
“The Studio” is on view @labiennale through November 22, 2026.
#ZadikZadikian
#ZadikianStudio
#LaBiennalediVenezia
#TonyShafrazi
#TinaChakarian
For the 2026 Venice Biennale, artist Zadik Zadikian represents the Republic of Armenia with his solo exhibition “The Studio.”
The project transforms the exhibition space into a working studio, where Zadikian and a team of assistants form, cast, and assemble modular bricks, blocks, and slabs over the course of the Biennale. As critic Carlo McCormick observes, “The Studio is workroom, factory, and laboratory at once—a locus of constant production, invention, and reinvention, a place of infinite possibility where art is not simply what is made; it is the study of its creation, and what we make of it.”
Co-curated by Tony Shafrazi and Tina Chakarian, the presentation operates in dialogue with—and in honor of—the vision and legacy of Koyo Kouoh and her overarching framework for In Minor Keys, the 61st International Art Exhibition of the Biennale.
“The Studio” is on view @labiennale through November 22, 2026.
#ZadikZadikian
#ZadikianStudio
#LaBiennalediVenezia
#TonyShafrazi
#TinaChakarian
For the 2026 Venice Biennale, artist Zadik Zadikian represents the Republic of Armenia with his solo exhibition “The Studio.”
The project transforms the exhibition space into a working studio, where Zadikian and a team of assistants form, cast, and assemble modular bricks, blocks, and slabs over the course of the Biennale. As critic Carlo McCormick observes, “The Studio is workroom, factory, and laboratory at once—a locus of constant production, invention, and reinvention, a place of infinite possibility where art is not simply what is made; it is the study of its creation, and what we make of it.”
Co-curated by Tony Shafrazi and Tina Chakarian, the presentation operates in dialogue with—and in honor of—the vision and legacy of Koyo Kouoh and her overarching framework for In Minor Keys, the 61st International Art Exhibition of the Biennale.
“The Studio” is on view @labiennale through November 22, 2026.
#ZadikZadikian
#ZadikianStudio
#LaBiennalediVenezia
#TonyShafrazi
#TinaChakarian
For the 2026 Venice Biennale, artist Zadik Zadikian represents the Republic of Armenia with his solo exhibition “The Studio.”
The project transforms the exhibition space into a working studio, where Zadikian and a team of assistants form, cast, and assemble modular bricks, blocks, and slabs over the course of the Biennale. As critic Carlo McCormick observes, “The Studio is workroom, factory, and laboratory at once—a locus of constant production, invention, and reinvention, a place of infinite possibility where art is not simply what is made; it is the study of its creation, and what we make of it.”
Co-curated by Tony Shafrazi and Tina Chakarian, the presentation operates in dialogue with—and in honor of—the vision and legacy of Koyo Kouoh and her overarching framework for In Minor Keys, the 61st International Art Exhibition of the Biennale.
“The Studio” is on view @labiennale through November 22, 2026.
#ZadikZadikian
#ZadikianStudio
#LaBiennalediVenezia
#TonyShafrazi
#TinaChakarian
View of "Meg Webster: Thicket" @paulacoopergallery, New York, through July 24.
@megwebsterstudio
#PaulaCooperGallery
Views of "Francesca Mollett: Buried Shadow" @grimmgallery, New York, through June 18.
Images:
–Francesca Mollett, Middle Shadow, 2025-2026, oil on linen, 90 1/2 x 70 7/8"
–Francesca Mollett, Glare, 2025-2026, High resolution images, oil on linen, 94 1/2 x 70 7/8"
@___frangle
#GRIMM
Views of "Francesca Mollett: Buried Shadow" @grimmgallery, New York, through June 18.
Images:
–Francesca Mollett, Middle Shadow, 2025-2026, oil on linen, 90 1/2 x 70 7/8"
–Francesca Mollett, Glare, 2025-2026, High resolution images, oil on linen, 94 1/2 x 70 7/8"
@___frangle
#GRIMM
Przeglądaj historie na Instagramie w tajemnicy
Instagram Story Viewer to proste narzędzie, które pozwala na ciche oglądanie i zapisywanie historii Instagram, filmów, zdjęć lub IGTV. Dzięki tej usłudze możesz pobrać zawartość i cieszyć się nią offline, kiedy chcesz. Jeśli znajdziesz coś interesującego na Instagramie, co chcesz sprawdzić później, lub chcesz oglądać historie pozostając anonimowym, nasz Viewer jest idealny dla Ciebie. Anonstories oferuje doskonałe rozwiązanie do ukrywania swojej tożsamości. Instagram po raz pierwszy uruchomił funkcję historii w sierpniu 2023 roku, która szybko została zaadoptowana przez inne platformy ze względu na jej angażujący, czasowo ograniczony format. Historie pozwalają użytkownikom dzielić się szybkimi aktualizacjami, czy to zdjęciami, filmami, czy selfie, wzbogaconymi o tekst, emotikony lub filtry, i są widoczne tylko przez 24 godziny. Ten ograniczony czas sprawia, że historie cieszą się dużym zaangażowaniem w porównaniu do zwykłych postów. W dzisiejszym świecie historie to jeden z najpopularniejszych sposobów komunikacji na mediach społecznościowych. Jednak gdy oglądasz historię, twórca może zobaczyć Twoje imię na liście oglądających, co może stanowić problem związany z prywatnością. Co jeśli chcesz przeglądać historie, nie będąc zauważonym? Tutaj Anonstories staje się przydatne. Umożliwia oglądanie publicznej zawartości Instagram bez ujawniania tożsamości. Wystarczy wpisać nazwę użytkownika profilu, który Cię interesuje, a narzędzie wyświetli ich najnowsze historie. Cechy Anonstories Viewer: - Anonimowe przeglądanie: Oglądaj historie bez pojawiania się na liście oglądających. - Brak konta: Oglądaj publiczną zawartość bez logowania się na konto Instagram. - Pobieranie zawartości: Zapisuj dowolną zawartość historii bezpośrednio na swoje urządzenie do użytku offline. - Przeglądaj najważniejsze: Dostęp do Instagram Highlights, nawet po 24 godzinach. - Monitorowanie repostów: Śledź reposty lub poziom zaangażowania w historię na prywatnych profilach. Ograniczenia: - Narzędzie działa tylko z publicznymi kontami; konta prywatne pozostają niedostępne. Korzyści: - Przyjazne dla prywatności: Oglądaj zawartość Instagram bez bycia zauważonym. - Proste i łatwe: Brak potrzeby instalacji aplikacji lub rejestracji. - Ekskluzywne narzędzia: Pobieraj i zarządzaj zawartością w sposób, którego Instagram nie oferuje.
Zalety Anonstories
Oglądaj IG Stories Prywatnie
Śledź aktualizacje na Instagramie dyskretnie, chroniąc swoją prywatność i pozostając anonimowym.
Prywatny Viewer na Instagramie
Oglądaj profile i zdjęcia anonimowo za pomocą Prywatnego Viewera.
Bezpłatny Story Viewer
To darmowe narzędzie pozwala oglądać historie Instagram anonimowo, zapewniając, że Twoja aktywność pozostaje ukryta przed twórcą historii.
Najczęściej zadawane pytania
Anonimowość
Anonstories pozwala użytkownikom oglądać historie na Instagramie bez informowania twórcy.
Kompatybilność z urządzeniami
Funkcjonuje płynnie na iOS, Android, Windows, macOS i nowoczesnych przeglądarkach takich jak Chrome i Safari.
Bezpieczeństwo i Prywatność
Priorytetem jest bezpieczne, anonimowe przeglądanie bez konieczności logowania się.
Brak rejestracji
Użytkownicy mogą oglądać publiczne historie, wpisując nazwę użytkownika – bez konieczności zakładania konta.
Obsługiwane formaty
Pobiera zdjęcia (JPEG) i filmy (MP4) z łatwością.
Koszt
Usługa jest bezpłatna.
Konta prywatne
Treści z prywatnych kont mogą być dostępne tylko dla obserwujących.
Użycie plików
Pliki są przeznaczone do użytku osobistego lub edukacyjnego i muszą być zgodne z przepisami dotyczącymi praw autorskich.
Jak to działa
Wpisz publiczną nazwę użytkownika, aby oglądać lub pobrać historie. Usługa generuje bezpośrednie linki do zapis