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Artforum
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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
Daniel Lind-Ramos, The Green Guardian, 2024-25, green kayak, fan, mixed fabric, rope, wood, plastic, crystal, sleeping bag, water hose, acrylic, iron rod, root, wooden trunk, iron disc, aluminium, plastic tubes, air filters, wire mesh, iron pipe, hessian, 108 x 96" @labiennale, through November 22.
@daniel_lind_ramos
#VeniceBiennale
Installation views of "Pillow Princess: Debra Pearlman, Alexandria Deters, and Kristin O’Connor" @550gallery, through May 17.
#550Gallery
@baileycoleman__yac
@debra.pearlman
@acd.threadz
@kristinoconnor
Installation views of "Pillow Princess: Debra Pearlman, Alexandria Deters, and Kristin O’Connor" @550gallery, through May 17.
#550Gallery
@baileycoleman__yac
@debra.pearlman
@acd.threadz
@kristinoconnor
Installation views of "Pillow Princess: Debra Pearlman, Alexandria Deters, and Kristin O’Connor" @550gallery, through May 17.
#550Gallery
@baileycoleman__yac
@debra.pearlman
@acd.threadz
@kristinoconnor
Installation views of "Pillow Princess: Debra Pearlman, Alexandria Deters, and Kristin O’Connor" @550gallery, through May 17.
#550Gallery
@baileycoleman__yac
@debra.pearlman
@acd.threadz
@kristinoconnor
Installation views of "Pillow Princess: Debra Pearlman, Alexandria Deters, and Kristin O’Connor" @550gallery, through May 17.
#550Gallery
@baileycoleman__yac
@debra.pearlman
@acd.threadz
@kristinoconnor
Installation views of "Pillow Princess: Debra Pearlman, Alexandria Deters, and Kristin O’Connor" @550gallery, through May 17.
#550Gallery
@baileycoleman__yac
@debra.pearlman
@acd.threadz
@kristinoconnor
Installation view of “Theo Eshetu: Garden of the Broken Hearted” @labiennale, through November 22.
@theoeshetu
#VeniceBiennale
Ei Arakawa-Nash is representing Japan at this year's Venice Biennale with "Grass Babies, Moon Babies," a solo exhibition of two hundred baby dolls featuring contributions from artists, astrologers, tea masters, and cartoonists. Ahead of the opening, we asked them to share their Top Ten. They gave us a playlist of ten songs by the J-Pop icon Yumi Matsutoya, known as Yuming, tracing decades of queer becoming, postcolonial memory, and teen fantasy through her music.
Read the full list through the link in bio.
Images:
–Laundry stain removal, Tachikawa Air Base, Japan, 1968. Photo: Shigeo Watanabe.
–Gus Van Sant, Even Cowgirls Get the Blues, 1993, 35 mm, color, sound, 106 minutes. Production still. Sissy Hankshaw (Uma Thurman).
–Poster insert from Tin Pan Alley’s Caramel Mama LP (Panam, 1975). Photo: Jin Tamura.
–Liner art detail from Yumi Matsutoya’s Asia in the Water EP (Express, 1981). Photo: Masayasu Shimizu.
–Cover detail of Yumi Matsutoya’s Wormhole/Yumi Aral (EMI Records, 2025).
–Nobuhiko Obayashi, The Girl Who Leapt Through Time, 1983, 35 mm, color, sound, 104 minutes © KADOKAWA.
–Yumi Matsutoya rehearsing “The Nightmare Called Jealously” for her “Tears and Reasons” tour, Chiba, Japan, 1992. Photo: Kiara Music.
–Cover of Yumi Matsutoya’s I Will See You Last Night (EMI Records, 1981).
–Yumi Arai at her wedding to Masataka Matsutoya, Yokohama Sacred Heart Cathedral, November 29, 1976. Photo: Sports Nippon Newspapers.
@ei.arakawa.nash @yuming_official #YumiMatsutoya #VeniceBiennale @gus_van_sant @umathurman #TinPanAlley #NobuhikoObayashi
Ei Arakawa-Nash is representing Japan at this year's Venice Biennale with "Grass Babies, Moon Babies," a solo exhibition of two hundred baby dolls featuring contributions from artists, astrologers, tea masters, and cartoonists. Ahead of the opening, we asked them to share their Top Ten. They gave us a playlist of ten songs by the J-Pop icon Yumi Matsutoya, known as Yuming, tracing decades of queer becoming, postcolonial memory, and teen fantasy through her music.
Read the full list through the link in bio.
Images:
–Laundry stain removal, Tachikawa Air Base, Japan, 1968. Photo: Shigeo Watanabe.
–Gus Van Sant, Even Cowgirls Get the Blues, 1993, 35 mm, color, sound, 106 minutes. Production still. Sissy Hankshaw (Uma Thurman).
–Poster insert from Tin Pan Alley’s Caramel Mama LP (Panam, 1975). Photo: Jin Tamura.
–Liner art detail from Yumi Matsutoya’s Asia in the Water EP (Express, 1981). Photo: Masayasu Shimizu.
–Cover detail of Yumi Matsutoya’s Wormhole/Yumi Aral (EMI Records, 2025).
–Nobuhiko Obayashi, The Girl Who Leapt Through Time, 1983, 35 mm, color, sound, 104 minutes © KADOKAWA.
–Yumi Matsutoya rehearsing “The Nightmare Called Jealously” for her “Tears and Reasons” tour, Chiba, Japan, 1992. Photo: Kiara Music.
–Cover of Yumi Matsutoya’s I Will See You Last Night (EMI Records, 1981).
–Yumi Arai at her wedding to Masataka Matsutoya, Yokohama Sacred Heart Cathedral, November 29, 1976. Photo: Sports Nippon Newspapers.
@ei.arakawa.nash @yuming_official #YumiMatsutoya #VeniceBiennale @gus_van_sant @umathurman #TinPanAlley #NobuhikoObayashi
Ei Arakawa-Nash is representing Japan at this year's Venice Biennale with "Grass Babies, Moon Babies," a solo exhibition of two hundred baby dolls featuring contributions from artists, astrologers, tea masters, and cartoonists. Ahead of the opening, we asked them to share their Top Ten. They gave us a playlist of ten songs by the J-Pop icon Yumi Matsutoya, known as Yuming, tracing decades of queer becoming, postcolonial memory, and teen fantasy through her music.
Read the full list through the link in bio.
Images:
–Laundry stain removal, Tachikawa Air Base, Japan, 1968. Photo: Shigeo Watanabe.
–Gus Van Sant, Even Cowgirls Get the Blues, 1993, 35 mm, color, sound, 106 minutes. Production still. Sissy Hankshaw (Uma Thurman).
–Poster insert from Tin Pan Alley’s Caramel Mama LP (Panam, 1975). Photo: Jin Tamura.
–Liner art detail from Yumi Matsutoya’s Asia in the Water EP (Express, 1981). Photo: Masayasu Shimizu.
–Cover detail of Yumi Matsutoya’s Wormhole/Yumi Aral (EMI Records, 2025).
–Nobuhiko Obayashi, The Girl Who Leapt Through Time, 1983, 35 mm, color, sound, 104 minutes © KADOKAWA.
–Yumi Matsutoya rehearsing “The Nightmare Called Jealously” for her “Tears and Reasons” tour, Chiba, Japan, 1992. Photo: Kiara Music.
–Cover of Yumi Matsutoya’s I Will See You Last Night (EMI Records, 1981).
–Yumi Arai at her wedding to Masataka Matsutoya, Yokohama Sacred Heart Cathedral, November 29, 1976. Photo: Sports Nippon Newspapers.
@ei.arakawa.nash @yuming_official #YumiMatsutoya #VeniceBiennale @gus_van_sant @umathurman #TinPanAlley #NobuhikoObayashi
Ei Arakawa-Nash is representing Japan at this year's Venice Biennale with "Grass Babies, Moon Babies," a solo exhibition of two hundred baby dolls featuring contributions from artists, astrologers, tea masters, and cartoonists. Ahead of the opening, we asked them to share their Top Ten. They gave us a playlist of ten songs by the J-Pop icon Yumi Matsutoya, known as Yuming, tracing decades of queer becoming, postcolonial memory, and teen fantasy through her music.
Read the full list through the link in bio.
Images:
–Laundry stain removal, Tachikawa Air Base, Japan, 1968. Photo: Shigeo Watanabe.
–Gus Van Sant, Even Cowgirls Get the Blues, 1993, 35 mm, color, sound, 106 minutes. Production still. Sissy Hankshaw (Uma Thurman).
–Poster insert from Tin Pan Alley’s Caramel Mama LP (Panam, 1975). Photo: Jin Tamura.
–Liner art detail from Yumi Matsutoya’s Asia in the Water EP (Express, 1981). Photo: Masayasu Shimizu.
–Cover detail of Yumi Matsutoya’s Wormhole/Yumi Aral (EMI Records, 2025).
–Nobuhiko Obayashi, The Girl Who Leapt Through Time, 1983, 35 mm, color, sound, 104 minutes © KADOKAWA.
–Yumi Matsutoya rehearsing “The Nightmare Called Jealously” for her “Tears and Reasons” tour, Chiba, Japan, 1992. Photo: Kiara Music.
–Cover of Yumi Matsutoya’s I Will See You Last Night (EMI Records, 1981).
–Yumi Arai at her wedding to Masataka Matsutoya, Yokohama Sacred Heart Cathedral, November 29, 1976. Photo: Sports Nippon Newspapers.
@ei.arakawa.nash @yuming_official #YumiMatsutoya #VeniceBiennale @gus_van_sant @umathurman #TinPanAlley #NobuhikoObayashi
Ei Arakawa-Nash is representing Japan at this year's Venice Biennale with "Grass Babies, Moon Babies," a solo exhibition of two hundred baby dolls featuring contributions from artists, astrologers, tea masters, and cartoonists. Ahead of the opening, we asked them to share their Top Ten. They gave us a playlist of ten songs by the J-Pop icon Yumi Matsutoya, known as Yuming, tracing decades of queer becoming, postcolonial memory, and teen fantasy through her music.
Read the full list through the link in bio.
Images:
–Laundry stain removal, Tachikawa Air Base, Japan, 1968. Photo: Shigeo Watanabe.
–Gus Van Sant, Even Cowgirls Get the Blues, 1993, 35 mm, color, sound, 106 minutes. Production still. Sissy Hankshaw (Uma Thurman).
–Poster insert from Tin Pan Alley’s Caramel Mama LP (Panam, 1975). Photo: Jin Tamura.
–Liner art detail from Yumi Matsutoya’s Asia in the Water EP (Express, 1981). Photo: Masayasu Shimizu.
–Cover detail of Yumi Matsutoya’s Wormhole/Yumi Aral (EMI Records, 2025).
–Nobuhiko Obayashi, The Girl Who Leapt Through Time, 1983, 35 mm, color, sound, 104 minutes © KADOKAWA.
–Yumi Matsutoya rehearsing “The Nightmare Called Jealously” for her “Tears and Reasons” tour, Chiba, Japan, 1992. Photo: Kiara Music.
–Cover of Yumi Matsutoya’s I Will See You Last Night (EMI Records, 1981).
–Yumi Arai at her wedding to Masataka Matsutoya, Yokohama Sacred Heart Cathedral, November 29, 1976. Photo: Sports Nippon Newspapers.
@ei.arakawa.nash @yuming_official #YumiMatsutoya #VeniceBiennale @gus_van_sant @umathurman #TinPanAlley #NobuhikoObayashi
Ei Arakawa-Nash is representing Japan at this year's Venice Biennale with "Grass Babies, Moon Babies," a solo exhibition of two hundred baby dolls featuring contributions from artists, astrologers, tea masters, and cartoonists. Ahead of the opening, we asked them to share their Top Ten. They gave us a playlist of ten songs by the J-Pop icon Yumi Matsutoya, known as Yuming, tracing decades of queer becoming, postcolonial memory, and teen fantasy through her music.
Read the full list through the link in bio.
Images:
–Laundry stain removal, Tachikawa Air Base, Japan, 1968. Photo: Shigeo Watanabe.
–Gus Van Sant, Even Cowgirls Get the Blues, 1993, 35 mm, color, sound, 106 minutes. Production still. Sissy Hankshaw (Uma Thurman).
–Poster insert from Tin Pan Alley’s Caramel Mama LP (Panam, 1975). Photo: Jin Tamura.
–Liner art detail from Yumi Matsutoya’s Asia in the Water EP (Express, 1981). Photo: Masayasu Shimizu.
–Cover detail of Yumi Matsutoya’s Wormhole/Yumi Aral (EMI Records, 2025).
–Nobuhiko Obayashi, The Girl Who Leapt Through Time, 1983, 35 mm, color, sound, 104 minutes © KADOKAWA.
–Yumi Matsutoya rehearsing “The Nightmare Called Jealously” for her “Tears and Reasons” tour, Chiba, Japan, 1992. Photo: Kiara Music.
–Cover of Yumi Matsutoya’s I Will See You Last Night (EMI Records, 1981).
–Yumi Arai at her wedding to Masataka Matsutoya, Yokohama Sacred Heart Cathedral, November 29, 1976. Photo: Sports Nippon Newspapers.
@ei.arakawa.nash @yuming_official #YumiMatsutoya #VeniceBiennale @gus_van_sant @umathurman #TinPanAlley #NobuhikoObayashi
Ei Arakawa-Nash is representing Japan at this year's Venice Biennale with "Grass Babies, Moon Babies," a solo exhibition of two hundred baby dolls featuring contributions from artists, astrologers, tea masters, and cartoonists. Ahead of the opening, we asked them to share their Top Ten. They gave us a playlist of ten songs by the J-Pop icon Yumi Matsutoya, known as Yuming, tracing decades of queer becoming, postcolonial memory, and teen fantasy through her music.
Read the full list through the link in bio.
Images:
–Laundry stain removal, Tachikawa Air Base, Japan, 1968. Photo: Shigeo Watanabe.
–Gus Van Sant, Even Cowgirls Get the Blues, 1993, 35 mm, color, sound, 106 minutes. Production still. Sissy Hankshaw (Uma Thurman).
–Poster insert from Tin Pan Alley’s Caramel Mama LP (Panam, 1975). Photo: Jin Tamura.
–Liner art detail from Yumi Matsutoya’s Asia in the Water EP (Express, 1981). Photo: Masayasu Shimizu.
–Cover detail of Yumi Matsutoya’s Wormhole/Yumi Aral (EMI Records, 2025).
–Nobuhiko Obayashi, The Girl Who Leapt Through Time, 1983, 35 mm, color, sound, 104 minutes © KADOKAWA.
–Yumi Matsutoya rehearsing “The Nightmare Called Jealously” for her “Tears and Reasons” tour, Chiba, Japan, 1992. Photo: Kiara Music.
–Cover of Yumi Matsutoya’s I Will See You Last Night (EMI Records, 1981).
–Yumi Arai at her wedding to Masataka Matsutoya, Yokohama Sacred Heart Cathedral, November 29, 1976. Photo: Sports Nippon Newspapers.
@ei.arakawa.nash @yuming_official #YumiMatsutoya #VeniceBiennale @gus_van_sant @umathurman #TinPanAlley #NobuhikoObayashi
Ei Arakawa-Nash is representing Japan at this year's Venice Biennale with "Grass Babies, Moon Babies," a solo exhibition of two hundred baby dolls featuring contributions from artists, astrologers, tea masters, and cartoonists. Ahead of the opening, we asked them to share their Top Ten. They gave us a playlist of ten songs by the J-Pop icon Yumi Matsutoya, known as Yuming, tracing decades of queer becoming, postcolonial memory, and teen fantasy through her music.
Read the full list through the link in bio.
Images:
–Laundry stain removal, Tachikawa Air Base, Japan, 1968. Photo: Shigeo Watanabe.
–Gus Van Sant, Even Cowgirls Get the Blues, 1993, 35 mm, color, sound, 106 minutes. Production still. Sissy Hankshaw (Uma Thurman).
–Poster insert from Tin Pan Alley’s Caramel Mama LP (Panam, 1975). Photo: Jin Tamura.
–Liner art detail from Yumi Matsutoya’s Asia in the Water EP (Express, 1981). Photo: Masayasu Shimizu.
–Cover detail of Yumi Matsutoya’s Wormhole/Yumi Aral (EMI Records, 2025).
–Nobuhiko Obayashi, The Girl Who Leapt Through Time, 1983, 35 mm, color, sound, 104 minutes © KADOKAWA.
–Yumi Matsutoya rehearsing “The Nightmare Called Jealously” for her “Tears and Reasons” tour, Chiba, Japan, 1992. Photo: Kiara Music.
–Cover of Yumi Matsutoya’s I Will See You Last Night (EMI Records, 1981).
–Yumi Arai at her wedding to Masataka Matsutoya, Yokohama Sacred Heart Cathedral, November 29, 1976. Photo: Sports Nippon Newspapers.
@ei.arakawa.nash @yuming_official #YumiMatsutoya #VeniceBiennale @gus_van_sant @umathurman #TinPanAlley #NobuhikoObayashi
Ei Arakawa-Nash is representing Japan at this year's Venice Biennale with "Grass Babies, Moon Babies," a solo exhibition of two hundred baby dolls featuring contributions from artists, astrologers, tea masters, and cartoonists. Ahead of the opening, we asked them to share their Top Ten. They gave us a playlist of ten songs by the J-Pop icon Yumi Matsutoya, known as Yuming, tracing decades of queer becoming, postcolonial memory, and teen fantasy through her music.
Read the full list through the link in bio.
Images:
–Laundry stain removal, Tachikawa Air Base, Japan, 1968. Photo: Shigeo Watanabe.
–Gus Van Sant, Even Cowgirls Get the Blues, 1993, 35 mm, color, sound, 106 minutes. Production still. Sissy Hankshaw (Uma Thurman).
–Poster insert from Tin Pan Alley’s Caramel Mama LP (Panam, 1975). Photo: Jin Tamura.
–Liner art detail from Yumi Matsutoya’s Asia in the Water EP (Express, 1981). Photo: Masayasu Shimizu.
–Cover detail of Yumi Matsutoya’s Wormhole/Yumi Aral (EMI Records, 2025).
–Nobuhiko Obayashi, The Girl Who Leapt Through Time, 1983, 35 mm, color, sound, 104 minutes © KADOKAWA.
–Yumi Matsutoya rehearsing “The Nightmare Called Jealously” for her “Tears and Reasons” tour, Chiba, Japan, 1992. Photo: Kiara Music.
–Cover of Yumi Matsutoya’s I Will See You Last Night (EMI Records, 1981).
–Yumi Arai at her wedding to Masataka Matsutoya, Yokohama Sacred Heart Cathedral, November 29, 1976. Photo: Sports Nippon Newspapers.
@ei.arakawa.nash @yuming_official #YumiMatsutoya #VeniceBiennale @gus_van_sant @umathurman #TinPanAlley #NobuhikoObayashi
Ei Arakawa-Nash is representing Japan at this year's Venice Biennale with "Grass Babies, Moon Babies," a solo exhibition of two hundred baby dolls featuring contributions from artists, astrologers, tea masters, and cartoonists. Ahead of the opening, we asked them to share their Top Ten. They gave us a playlist of ten songs by the J-Pop icon Yumi Matsutoya, known as Yuming, tracing decades of queer becoming, postcolonial memory, and teen fantasy through her music.
Read the full list through the link in bio.
Images:
–Laundry stain removal, Tachikawa Air Base, Japan, 1968. Photo: Shigeo Watanabe.
–Gus Van Sant, Even Cowgirls Get the Blues, 1993, 35 mm, color, sound, 106 minutes. Production still. Sissy Hankshaw (Uma Thurman).
–Poster insert from Tin Pan Alley’s Caramel Mama LP (Panam, 1975). Photo: Jin Tamura.
–Liner art detail from Yumi Matsutoya’s Asia in the Water EP (Express, 1981). Photo: Masayasu Shimizu.
–Cover detail of Yumi Matsutoya’s Wormhole/Yumi Aral (EMI Records, 2025).
–Nobuhiko Obayashi, The Girl Who Leapt Through Time, 1983, 35 mm, color, sound, 104 minutes © KADOKAWA.
–Yumi Matsutoya rehearsing “The Nightmare Called Jealously” for her “Tears and Reasons” tour, Chiba, Japan, 1992. Photo: Kiara Music.
–Cover of Yumi Matsutoya’s I Will See You Last Night (EMI Records, 1981).
–Yumi Arai at her wedding to Masataka Matsutoya, Yokohama Sacred Heart Cathedral, November 29, 1976. Photo: Sports Nippon Newspapers.
@ei.arakawa.nash @yuming_official #YumiMatsutoya #VeniceBiennale @gus_van_sant @umathurman #TinPanAlley #NobuhikoObayashi
In the Studio with Anna Park:
Ahead of her upcoming exhibition “Hot Honey”, Anna Park invites us into her New York studio, offering insight into her charcoal practice, her exploration of female stereotypes, and the canonical influences shaping her work. On view at @lehmannmaupin, London, through May 30.
Film by Pushpin Studios. Produced by Lehmann Maupin
#LehmannMaupin
@annaparkart
In 2003, at the 50th Venice Biennale, Firelei Báez encountered Olafur Eliasson’s Room for One Colour—a work that would go on to shape her own practice.
In this episode of Under the Influence, Báez reflects on that experience and other key influences, from science fiction to her time at Cooper Union.
“Firelei Baez: Feet squelching on wet grass, nourished by uncertainty” opens May 12 @hauserwirth, New York, 22nd street.
Follow the link in bio for the full video.
@fireleibaez
@studioolafureliasson
Video Direction: @Brianjgreen_
Cinematography: @alexandra.sapp
#FireleiBaez
#OlafurEliasson
#VeniceBiennale
#ArtforumVideo
#Artist
Berlin's art world has been declared dead before—but Julius Pristauz spent Gallery Weekend finding out who's still showing up. From a gallery inside a bridge to Candice Breitz's dancing bear sending a message to the German chancellor, the city continues to deliver. In the latest installment of Artforum's Diary column, Pristauz moves through openings at Klix, Galerie Neu, Sprüth Magers, KOW, and CHB Fine Arts, musing on funding cuts and what it means to look past the obvious.
Link in bio.
Images:
–Candice Breitz at KOW.
–Curator Juliette Desorgues in front of a work by Hannah Quinlan and Rosie Hastings at Galerie Neu.
–The crowd at CHB Fine Arts.
–Artists Miloš Trakilović and Kim Camille Kreuz in front of Zuzanna Czebatul’s presentation at 032c.
–Curator Cathrin Mayer, critic Kristian Vistrup Madsen, and gallerist Max Mayer
–Artists Philipp Gufler and Martin Gustavsson.
@juliuspristauz @galleryweekendberlin @candicebreitz @kowberlin @juliettedesorgues @hannah_quinlan_ @rosiebhastings @galerie_neu @chb_fine_arts @milos.trakilovic @_kimcamille_ @zzzzccczzzz @032c @cat8rin #KristianVistrupMadsen @maxmayerdotnet @philipp.gufler @_martingustavsson @klix.berlin @spruethmagers
Berlin's art world has been declared dead before—but Julius Pristauz spent Gallery Weekend finding out who's still showing up. From a gallery inside a bridge to Candice Breitz's dancing bear sending a message to the German chancellor, the city continues to deliver. In the latest installment of Artforum's Diary column, Pristauz moves through openings at Klix, Galerie Neu, Sprüth Magers, KOW, and CHB Fine Arts, musing on funding cuts and what it means to look past the obvious.
Link in bio.
Images:
–Candice Breitz at KOW.
–Curator Juliette Desorgues in front of a work by Hannah Quinlan and Rosie Hastings at Galerie Neu.
–The crowd at CHB Fine Arts.
–Artists Miloš Trakilović and Kim Camille Kreuz in front of Zuzanna Czebatul’s presentation at 032c.
–Curator Cathrin Mayer, critic Kristian Vistrup Madsen, and gallerist Max Mayer
–Artists Philipp Gufler and Martin Gustavsson.
@juliuspristauz @galleryweekendberlin @candicebreitz @kowberlin @juliettedesorgues @hannah_quinlan_ @rosiebhastings @galerie_neu @chb_fine_arts @milos.trakilovic @_kimcamille_ @zzzzccczzzz @032c @cat8rin #KristianVistrupMadsen @maxmayerdotnet @philipp.gufler @_martingustavsson @klix.berlin @spruethmagers
Berlin's art world has been declared dead before—but Julius Pristauz spent Gallery Weekend finding out who's still showing up. From a gallery inside a bridge to Candice Breitz's dancing bear sending a message to the German chancellor, the city continues to deliver. In the latest installment of Artforum's Diary column, Pristauz moves through openings at Klix, Galerie Neu, Sprüth Magers, KOW, and CHB Fine Arts, musing on funding cuts and what it means to look past the obvious.
Link in bio.
Images:
–Candice Breitz at KOW.
–Curator Juliette Desorgues in front of a work by Hannah Quinlan and Rosie Hastings at Galerie Neu.
–The crowd at CHB Fine Arts.
–Artists Miloš Trakilović and Kim Camille Kreuz in front of Zuzanna Czebatul’s presentation at 032c.
–Curator Cathrin Mayer, critic Kristian Vistrup Madsen, and gallerist Max Mayer
–Artists Philipp Gufler and Martin Gustavsson.
@juliuspristauz @galleryweekendberlin @candicebreitz @kowberlin @juliettedesorgues @hannah_quinlan_ @rosiebhastings @galerie_neu @chb_fine_arts @milos.trakilovic @_kimcamille_ @zzzzccczzzz @032c @cat8rin #KristianVistrupMadsen @maxmayerdotnet @philipp.gufler @_martingustavsson @klix.berlin @spruethmagers
Berlin's art world has been declared dead before—but Julius Pristauz spent Gallery Weekend finding out who's still showing up. From a gallery inside a bridge to Candice Breitz's dancing bear sending a message to the German chancellor, the city continues to deliver. In the latest installment of Artforum's Diary column, Pristauz moves through openings at Klix, Galerie Neu, Sprüth Magers, KOW, and CHB Fine Arts, musing on funding cuts and what it means to look past the obvious.
Link in bio.
Images:
–Candice Breitz at KOW.
–Curator Juliette Desorgues in front of a work by Hannah Quinlan and Rosie Hastings at Galerie Neu.
–The crowd at CHB Fine Arts.
–Artists Miloš Trakilović and Kim Camille Kreuz in front of Zuzanna Czebatul’s presentation at 032c.
–Curator Cathrin Mayer, critic Kristian Vistrup Madsen, and gallerist Max Mayer
–Artists Philipp Gufler and Martin Gustavsson.
@juliuspristauz @galleryweekendberlin @candicebreitz @kowberlin @juliettedesorgues @hannah_quinlan_ @rosiebhastings @galerie_neu @chb_fine_arts @milos.trakilovic @_kimcamille_ @zzzzccczzzz @032c @cat8rin #KristianVistrupMadsen @maxmayerdotnet @philipp.gufler @_martingustavsson @klix.berlin @spruethmagers
Berlin's art world has been declared dead before—but Julius Pristauz spent Gallery Weekend finding out who's still showing up. From a gallery inside a bridge to Candice Breitz's dancing bear sending a message to the German chancellor, the city continues to deliver. In the latest installment of Artforum's Diary column, Pristauz moves through openings at Klix, Galerie Neu, Sprüth Magers, KOW, and CHB Fine Arts, musing on funding cuts and what it means to look past the obvious.
Link in bio.
Images:
–Candice Breitz at KOW.
–Curator Juliette Desorgues in front of a work by Hannah Quinlan and Rosie Hastings at Galerie Neu.
–The crowd at CHB Fine Arts.
–Artists Miloš Trakilović and Kim Camille Kreuz in front of Zuzanna Czebatul’s presentation at 032c.
–Curator Cathrin Mayer, critic Kristian Vistrup Madsen, and gallerist Max Mayer
–Artists Philipp Gufler and Martin Gustavsson.
@juliuspristauz @galleryweekendberlin @candicebreitz @kowberlin @juliettedesorgues @hannah_quinlan_ @rosiebhastings @galerie_neu @chb_fine_arts @milos.trakilovic @_kimcamille_ @zzzzccczzzz @032c @cat8rin #KristianVistrupMadsen @maxmayerdotnet @philipp.gufler @_martingustavsson @klix.berlin @spruethmagers
Berlin's art world has been declared dead before—but Julius Pristauz spent Gallery Weekend finding out who's still showing up. From a gallery inside a bridge to Candice Breitz's dancing bear sending a message to the German chancellor, the city continues to deliver. In the latest installment of Artforum's Diary column, Pristauz moves through openings at Klix, Galerie Neu, Sprüth Magers, KOW, and CHB Fine Arts, musing on funding cuts and what it means to look past the obvious.
Link in bio.
Images:
–Candice Breitz at KOW.
–Curator Juliette Desorgues in front of a work by Hannah Quinlan and Rosie Hastings at Galerie Neu.
–The crowd at CHB Fine Arts.
–Artists Miloš Trakilović and Kim Camille Kreuz in front of Zuzanna Czebatul’s presentation at 032c.
–Curator Cathrin Mayer, critic Kristian Vistrup Madsen, and gallerist Max Mayer
–Artists Philipp Gufler and Martin Gustavsson.
@juliuspristauz @galleryweekendberlin @candicebreitz @kowberlin @juliettedesorgues @hannah_quinlan_ @rosiebhastings @galerie_neu @chb_fine_arts @milos.trakilovic @_kimcamille_ @zzzzccczzzz @032c @cat8rin #KristianVistrupMadsen @maxmayerdotnet @philipp.gufler @_martingustavsson @klix.berlin @spruethmagers
Berlin's art world has been declared dead before—but Julius Pristauz spent Gallery Weekend finding out who's still showing up. From a gallery inside a bridge to Candice Breitz's dancing bear sending a message to the German chancellor, the city continues to deliver. In the latest installment of Artforum's Diary column, Pristauz moves through openings at Klix, Galerie Neu, Sprüth Magers, KOW, and CHB Fine Arts, musing on funding cuts and what it means to look past the obvious.
Link in bio.
Images:
–Candice Breitz at KOW.
–Curator Juliette Desorgues in front of a work by Hannah Quinlan and Rosie Hastings at Galerie Neu.
–The crowd at CHB Fine Arts.
–Artists Miloš Trakilović and Kim Camille Kreuz in front of Zuzanna Czebatul’s presentation at 032c.
–Curator Cathrin Mayer, critic Kristian Vistrup Madsen, and gallerist Max Mayer
–Artists Philipp Gufler and Martin Gustavsson.
@juliuspristauz @galleryweekendberlin @candicebreitz @kowberlin @juliettedesorgues @hannah_quinlan_ @rosiebhastings @galerie_neu @chb_fine_arts @milos.trakilovic @_kimcamille_ @zzzzccczzzz @032c @cat8rin #KristianVistrupMadsen @maxmayerdotnet @philipp.gufler @_martingustavsson @klix.berlin @spruethmagers
Berlin's art world has been declared dead before—but Julius Pristauz spent Gallery Weekend finding out who's still showing up. From a gallery inside a bridge to Candice Breitz's dancing bear sending a message to the German chancellor, the city continues to deliver. In the latest installment of Artforum's Diary column, Pristauz moves through openings at Klix, Galerie Neu, Sprüth Magers, KOW, and CHB Fine Arts, musing on funding cuts and what it means to look past the obvious.
Link in bio.
Images:
–Candice Breitz at KOW.
–Curator Juliette Desorgues in front of a work by Hannah Quinlan and Rosie Hastings at Galerie Neu.
–The crowd at CHB Fine Arts.
–Artists Miloš Trakilović and Kim Camille Kreuz in front of Zuzanna Czebatul’s presentation at 032c.
–Curator Cathrin Mayer, critic Kristian Vistrup Madsen, and gallerist Max Mayer
–Artists Philipp Gufler and Martin Gustavsson.
@juliuspristauz @galleryweekendberlin @candicebreitz @kowberlin @juliettedesorgues @hannah_quinlan_ @rosiebhastings @galerie_neu @chb_fine_arts @milos.trakilovic @_kimcamille_ @zzzzccczzzz @032c @cat8rin #KristianVistrupMadsen @maxmayerdotnet @philipp.gufler @_martingustavsson @klix.berlin @spruethmagers
Katherine Bradford, Swimmers and Men in Suits, 2025, acrylic on canvas, @haverkampfleistenschneider Berlin, Germany, though June 6.
@kathebradford
#HaverkampfLeistenschneider
Kiang Malingue, New York presents “Wake, mayfly…,”a new exhibition by Trương Công Tùng. Watch the film of the artist, shot in his studio in Ho Chi Minh City and during the installation, tracing a practice in which layers of lacquer simultaneously reveal and conceal, each surface holding the memory of what lies beneath. On view @kiangmalingue through June 6, 2026.
In anticipation of this week's opening of the sixty-first Venice Biennale, we revisit Claire Bishop's review of the 2019 edition: “May You Live in Interesting Times,” a theme that Bishop says “oozes such privileged detachment that you wish the entire exhibition had simply been left untitled.” Still, she takes heart that certain individual works, by artists like Arthur Jafa and Ed Atkins, do not “mirror the aloofness of interesting times, but reflect on and rail against the fucked-up planet we inhabit.”
Read Bishop's full review, "In the Bland Scheme of Things," from Artforum's September 2019 issue. Link in bio.
#ClaireBishop
#ChristophBüchel
@labiennale
#FromtheArtforumArchive
In anticipation of this week's opening of the sixty-first Venice Biennale, we revisit Claire Bishop's review of the 2019 edition: “May You Live in Interesting Times,” a theme that Bishop says “oozes such privileged detachment that you wish the entire exhibition had simply been left untitled.” Still, she takes heart that certain individual works, by artists like Arthur Jafa and Ed Atkins, do not “mirror the aloofness of interesting times, but reflect on and rail against the fucked-up planet we inhabit.”
Read Bishop's full review, "In the Bland Scheme of Things," from Artforum's September 2019 issue. Link in bio.
#ClaireBishop
#ChristophBüchel
@labiennale
#FromtheArtforumArchive
Installation view of "François Durel: Play, Part, Cut (A City)" @zaza__milano__napoli, Milan, through May 15.
@francoisdurel
#FrançoisDurel
#ZazaMilan
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
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