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・・・
Check out the latest CIMAM Who’s Who interview featuring Alfredo Cramerotti,CIMAM member and the newly appointed Director of The Media Majlis at Northwestern University in Qatar in Doha.

👀 Discover how he entered the world of art curating, the narratives he is currently working on, his working practices and research sources, and his recommendations for readings, exhibitions, and songs.
@curatorview @themediamajlis

🔗in bio!

If you’re interested in participating in a Who’s Who at CIMAM interview, simply send us an email at members@cimam.org. We will contact you to make it happen!

#artcurating #CIMAMmember #artmuseum

Third Person by Lorna Simpson

Third Person is very much like sayingShe / Her / They / and so on - the one spoken about, looked at, not the one who speaks, usuallly.

@lornasimpson at pinaultcollection / Punta della Dogana in Venice, curated by @emmalavigne_ in partnership with @metmuseum NY, presents here works made over a decade, the first show to put her painting practice at the centre.

Fifty works like Ice, Special Characters, Earth and Sky, Archival pages from Ebony and Jet stacked magazines into totems, arctic expeditions by Matthew Henson, the Black explorer written out of his own discovery, portraits suspended in Tadao Ando’s Cube, Blues as in music, pigment, planet, etc. — you get the picture.

In my view, the erosion / resurgence of memory /failures of representation / instability of narratives — it’s all there in Simpson’s territory in the last forty years. A very good exhibition.

#LornaSimpson #PinaultCollection #EmmaLavigne #MetMuseum curatorview @hauserwirth @bottegavenetaworld

Third Person by Lorna Simpson

Third Person is very much like sayingShe / Her / They / and so on - the one spoken about, looked at, not the one who speaks, usuallly.

@lornasimpson at pinaultcollection / Punta della Dogana in Venice, curated by @emmalavigne_ in partnership with @metmuseum NY, presents here works made over a decade, the first show to put her painting practice at the centre.

Fifty works like Ice, Special Characters, Earth and Sky, Archival pages from Ebony and Jet stacked magazines into totems, arctic expeditions by Matthew Henson, the Black explorer written out of his own discovery, portraits suspended in Tadao Ando’s Cube, Blues as in music, pigment, planet, etc. — you get the picture.

In my view, the erosion / resurgence of memory /failures of representation / instability of narratives — it’s all there in Simpson’s territory in the last forty years. A very good exhibition.

#LornaSimpson #PinaultCollection #EmmaLavigne #MetMuseum curatorview @hauserwirth @bottegavenetaworld

Third Person by Lorna Simpson

Third Person is very much like sayingShe / Her / They / and so on - the one spoken about, looked at, not the one who speaks, usuallly.

@lornasimpson at pinaultcollection / Punta della Dogana in Venice, curated by @emmalavigne_ in partnership with @metmuseum NY, presents here works made over a decade, the first show to put her painting practice at the centre.

Fifty works like Ice, Special Characters, Earth and Sky, Archival pages from Ebony and Jet stacked magazines into totems, arctic expeditions by Matthew Henson, the Black explorer written out of his own discovery, portraits suspended in Tadao Ando’s Cube, Blues as in music, pigment, planet, etc. — you get the picture.

In my view, the erosion / resurgence of memory /failures of representation / instability of narratives — it’s all there in Simpson’s territory in the last forty years. A very good exhibition.

#LornaSimpson #PinaultCollection #EmmaLavigne #MetMuseum curatorview @hauserwirth @bottegavenetaworld

Third Person by Lorna Simpson

Third Person is very much like sayingShe / Her / They / and so on - the one spoken about, looked at, not the one who speaks, usuallly.

@lornasimpson at pinaultcollection / Punta della Dogana in Venice, curated by @emmalavigne_ in partnership with @metmuseum NY, presents here works made over a decade, the first show to put her painting practice at the centre.

Fifty works like Ice, Special Characters, Earth and Sky, Archival pages from Ebony and Jet stacked magazines into totems, arctic expeditions by Matthew Henson, the Black explorer written out of his own discovery, portraits suspended in Tadao Ando’s Cube, Blues as in music, pigment, planet, etc. — you get the picture.

In my view, the erosion / resurgence of memory /failures of representation / instability of narratives — it’s all there in Simpson’s territory in the last forty years. A very good exhibition.

#LornaSimpson #PinaultCollection #EmmaLavigne #MetMuseum curatorview @hauserwirth @bottegavenetaworld

Third Person by Lorna Simpson

Third Person is very much like sayingShe / Her / They / and so on - the one spoken about, looked at, not the one who speaks, usuallly.

@lornasimpson at pinaultcollection / Punta della Dogana in Venice, curated by @emmalavigne_ in partnership with @metmuseum NY, presents here works made over a decade, the first show to put her painting practice at the centre.

Fifty works like Ice, Special Characters, Earth and Sky, Archival pages from Ebony and Jet stacked magazines into totems, arctic expeditions by Matthew Henson, the Black explorer written out of his own discovery, portraits suspended in Tadao Ando’s Cube, Blues as in music, pigment, planet, etc. — you get the picture.

In my view, the erosion / resurgence of memory /failures of representation / instability of narratives — it’s all there in Simpson’s territory in the last forty years. A very good exhibition.

#LornaSimpson #PinaultCollection #EmmaLavigne #MetMuseum curatorview @hauserwirth @bottegavenetaworld

Third Person by Lorna Simpson

Third Person is very much like sayingShe / Her / They / and so on - the one spoken about, looked at, not the one who speaks, usuallly.

@lornasimpson at pinaultcollection / Punta della Dogana in Venice, curated by @emmalavigne_ in partnership with @metmuseum NY, presents here works made over a decade, the first show to put her painting practice at the centre.

Fifty works like Ice, Special Characters, Earth and Sky, Archival pages from Ebony and Jet stacked magazines into totems, arctic expeditions by Matthew Henson, the Black explorer written out of his own discovery, portraits suspended in Tadao Ando’s Cube, Blues as in music, pigment, planet, etc. — you get the picture.

In my view, the erosion / resurgence of memory /failures of representation / instability of narratives — it’s all there in Simpson’s territory in the last forty years. A very good exhibition.

#LornaSimpson #PinaultCollection #EmmaLavigne #MetMuseum curatorview @hauserwirth @bottegavenetaworld

Third Person by Lorna Simpson

Third Person is very much like sayingShe / Her / They / and so on - the one spoken about, looked at, not the one who speaks, usuallly.

@lornasimpson at pinaultcollection / Punta della Dogana in Venice, curated by @emmalavigne_ in partnership with @metmuseum NY, presents here works made over a decade, the first show to put her painting practice at the centre.

Fifty works like Ice, Special Characters, Earth and Sky, Archival pages from Ebony and Jet stacked magazines into totems, arctic expeditions by Matthew Henson, the Black explorer written out of his own discovery, portraits suspended in Tadao Ando’s Cube, Blues as in music, pigment, planet, etc. — you get the picture.

In my view, the erosion / resurgence of memory /failures of representation / instability of narratives — it’s all there in Simpson’s territory in the last forty years. A very good exhibition.

#LornaSimpson #PinaultCollection #EmmaLavigne #MetMuseum curatorview @hauserwirth @bottegavenetaworld

Third Person by Lorna Simpson

Third Person is very much like sayingShe / Her / They / and so on - the one spoken about, looked at, not the one who speaks, usuallly.

@lornasimpson at pinaultcollection / Punta della Dogana in Venice, curated by @emmalavigne_ in partnership with @metmuseum NY, presents here works made over a decade, the first show to put her painting practice at the centre.

Fifty works like Ice, Special Characters, Earth and Sky, Archival pages from Ebony and Jet stacked magazines into totems, arctic expeditions by Matthew Henson, the Black explorer written out of his own discovery, portraits suspended in Tadao Ando’s Cube, Blues as in music, pigment, planet, etc. — you get the picture.

In my view, the erosion / resurgence of memory /failures of representation / instability of narratives — it’s all there in Simpson’s territory in the last forty years. A very good exhibition.

#LornaSimpson #PinaultCollection #EmmaLavigne #MetMuseum curatorview @hauserwirth @bottegavenetaworld

Third Person by Lorna Simpson

Third Person is very much like sayingShe / Her / They / and so on - the one spoken about, looked at, not the one who speaks, usuallly.

@lornasimpson at pinaultcollection / Punta della Dogana in Venice, curated by @emmalavigne_ in partnership with @metmuseum NY, presents here works made over a decade, the first show to put her painting practice at the centre.

Fifty works like Ice, Special Characters, Earth and Sky, Archival pages from Ebony and Jet stacked magazines into totems, arctic expeditions by Matthew Henson, the Black explorer written out of his own discovery, portraits suspended in Tadao Ando’s Cube, Blues as in music, pigment, planet, etc. — you get the picture.

In my view, the erosion / resurgence of memory /failures of representation / instability of narratives — it’s all there in Simpson’s territory in the last forty years. A very good exhibition.

#LornaSimpson #PinaultCollection #EmmaLavigne #MetMuseum curatorview @hauserwirth @bottegavenetaworld

Third Person by Lorna Simpson

Third Person is very much like sayingShe / Her / They / and so on - the one spoken about, looked at, not the one who speaks, usuallly.

@lornasimpson at pinaultcollection / Punta della Dogana in Venice, curated by @emmalavigne_ in partnership with @metmuseum NY, presents here works made over a decade, the first show to put her painting practice at the centre.

Fifty works like Ice, Special Characters, Earth and Sky, Archival pages from Ebony and Jet stacked magazines into totems, arctic expeditions by Matthew Henson, the Black explorer written out of his own discovery, portraits suspended in Tadao Ando’s Cube, Blues as in music, pigment, planet, etc. — you get the picture.

In my view, the erosion / resurgence of memory /failures of representation / instability of narratives — it’s all there in Simpson’s territory in the last forty years. A very good exhibition.

#LornaSimpson #PinaultCollection #EmmaLavigne #MetMuseum curatorview @hauserwirth @bottegavenetaworld

Third Person by Lorna Simpson

Third Person is very much like sayingShe / Her / They / and so on - the one spoken about, looked at, not the one who speaks, usuallly.

@lornasimpson at pinaultcollection / Punta della Dogana in Venice, curated by @emmalavigne_ in partnership with @metmuseum NY, presents here works made over a decade, the first show to put her painting practice at the centre.

Fifty works like Ice, Special Characters, Earth and Sky, Archival pages from Ebony and Jet stacked magazines into totems, arctic expeditions by Matthew Henson, the Black explorer written out of his own discovery, portraits suspended in Tadao Ando’s Cube, Blues as in music, pigment, planet, etc. — you get the picture.

In my view, the erosion / resurgence of memory /failures of representation / instability of narratives — it’s all there in Simpson’s territory in the last forty years. A very good exhibition.

#LornaSimpson #PinaultCollection #EmmaLavigne #MetMuseum curatorview @hauserwirth @bottegavenetaworld

Third Person by Lorna Simpson

Third Person is very much like sayingShe / Her / They / and so on - the one spoken about, looked at, not the one who speaks, usuallly.

@lornasimpson at pinaultcollection / Punta della Dogana in Venice, curated by @emmalavigne_ in partnership with @metmuseum NY, presents here works made over a decade, the first show to put her painting practice at the centre.

Fifty works like Ice, Special Characters, Earth and Sky, Archival pages from Ebony and Jet stacked magazines into totems, arctic expeditions by Matthew Henson, the Black explorer written out of his own discovery, portraits suspended in Tadao Ando’s Cube, Blues as in music, pigment, planet, etc. — you get the picture.

In my view, the erosion / resurgence of memory /failures of representation / instability of narratives — it’s all there in Simpson’s territory in the last forty years. A very good exhibition.

#LornaSimpson #PinaultCollection #EmmaLavigne #MetMuseum curatorview @hauserwirth @bottegavenetaworld

Third Person by Lorna Simpson

Third Person is very much like sayingShe / Her / They / and so on - the one spoken about, looked at, not the one who speaks, usuallly.

@lornasimpson at pinaultcollection / Punta della Dogana in Venice, curated by @emmalavigne_ in partnership with @metmuseum NY, presents here works made over a decade, the first show to put her painting practice at the centre.

Fifty works like Ice, Special Characters, Earth and Sky, Archival pages from Ebony and Jet stacked magazines into totems, arctic expeditions by Matthew Henson, the Black explorer written out of his own discovery, portraits suspended in Tadao Ando’s Cube, Blues as in music, pigment, planet, etc. — you get the picture.

In my view, the erosion / resurgence of memory /failures of representation / instability of narratives — it’s all there in Simpson’s territory in the last forty years. A very good exhibition.

#LornaSimpson #PinaultCollection #EmmaLavigne #MetMuseum curatorview @hauserwirth @bottegavenetaworld

Third Person by Lorna Simpson

Third Person is very much like sayingShe / Her / They / and so on - the one spoken about, looked at, not the one who speaks, usuallly.

@lornasimpson at pinaultcollection / Punta della Dogana in Venice, curated by @emmalavigne_ in partnership with @metmuseum NY, presents here works made over a decade, the first show to put her painting practice at the centre.

Fifty works like Ice, Special Characters, Earth and Sky, Archival pages from Ebony and Jet stacked magazines into totems, arctic expeditions by Matthew Henson, the Black explorer written out of his own discovery, portraits suspended in Tadao Ando’s Cube, Blues as in music, pigment, planet, etc. — you get the picture.

In my view, the erosion / resurgence of memory /failures of representation / instability of narratives — it’s all there in Simpson’s territory in the last forty years. A very good exhibition.

#LornaSimpson #PinaultCollection #EmmaLavigne #MetMuseum curatorview @hauserwirth @bottegavenetaworld

Third Person by Lorna Simpson

Third Person is very much like sayingShe / Her / They / and so on - the one spoken about, looked at, not the one who speaks, usuallly.

@lornasimpson at pinaultcollection / Punta della Dogana in Venice, curated by @emmalavigne_ in partnership with @metmuseum NY, presents here works made over a decade, the first show to put her painting practice at the centre.

Fifty works like Ice, Special Characters, Earth and Sky, Archival pages from Ebony and Jet stacked magazines into totems, arctic expeditions by Matthew Henson, the Black explorer written out of his own discovery, portraits suspended in Tadao Ando’s Cube, Blues as in music, pigment, planet, etc. — you get the picture.

In my view, the erosion / resurgence of memory /failures of representation / instability of narratives — it’s all there in Simpson’s territory in the last forty years. A very good exhibition.

#LornaSimpson #PinaultCollection #EmmaLavigne #MetMuseum curatorview @hauserwirth @bottegavenetaworld

@nalinimalani exhibition for the 2026 @labiennale in Venice is somehow raw and powerful: drawings made finger by finger on an iPad — 33,000 of them — projected into a dark space that has no temperature control or climate management, only history and bricks and the residue of centuries of Venetian trade.

Of Woman Born, curated by @roobinakarode Artistic Director of @knmaindia Kiran Nadar Museum of Art, New Delhi, is presented at Magazzini del Sale no. 5 as an official Collateral Event of the 61st Biennale Arte, and I think is one of the most quietly radical propositions this year in Venice.

It’s a commission in the form of a thought process, from Greek myth (Orestes who kills his mother and is pardoned by Athena, a goddess not born of woman) to Partition memory via the Skipping Girl, moving through the city’s vaporetto signage and street posters. Well worth the visit.

#NaliniMalani #VeniceBiennale2026 #KiranNadarMuseumOfArt #RoobinaKarode #curatorview @deepanjanaklein @rbtmanuel @galerielelong @galerielelongparis

@nalinimalani exhibition for the 2026 @labiennale in Venice is somehow raw and powerful: drawings made finger by finger on an iPad — 33,000 of them — projected into a dark space that has no temperature control or climate management, only history and bricks and the residue of centuries of Venetian trade.

Of Woman Born, curated by @roobinakarode Artistic Director of @knmaindia Kiran Nadar Museum of Art, New Delhi, is presented at Magazzini del Sale no. 5 as an official Collateral Event of the 61st Biennale Arte, and I think is one of the most quietly radical propositions this year in Venice.

It’s a commission in the form of a thought process, from Greek myth (Orestes who kills his mother and is pardoned by Athena, a goddess not born of woman) to Partition memory via the Skipping Girl, moving through the city’s vaporetto signage and street posters. Well worth the visit.

#NaliniMalani #VeniceBiennale2026 #KiranNadarMuseumOfArt #RoobinaKarode #curatorview @deepanjanaklein @rbtmanuel @galerielelong @galerielelongparis

@nalinimalani exhibition for the 2026 @labiennale in Venice is somehow raw and powerful: drawings made finger by finger on an iPad — 33,000 of them — projected into a dark space that has no temperature control or climate management, only history and bricks and the residue of centuries of Venetian trade.

Of Woman Born, curated by @roobinakarode Artistic Director of @knmaindia Kiran Nadar Museum of Art, New Delhi, is presented at Magazzini del Sale no. 5 as an official Collateral Event of the 61st Biennale Arte, and I think is one of the most quietly radical propositions this year in Venice.

It’s a commission in the form of a thought process, from Greek myth (Orestes who kills his mother and is pardoned by Athena, a goddess not born of woman) to Partition memory via the Skipping Girl, moving through the city’s vaporetto signage and street posters. Well worth the visit.

#NaliniMalani #VeniceBiennale2026 #KiranNadarMuseumOfArt #RoobinaKarode #curatorview @deepanjanaklein @rbtmanuel @galerielelong @galerielelongparis

@nalinimalani exhibition for the 2026 @labiennale in Venice is somehow raw and powerful: drawings made finger by finger on an iPad — 33,000 of them — projected into a dark space that has no temperature control or climate management, only history and bricks and the residue of centuries of Venetian trade.

Of Woman Born, curated by @roobinakarode Artistic Director of @knmaindia Kiran Nadar Museum of Art, New Delhi, is presented at Magazzini del Sale no. 5 as an official Collateral Event of the 61st Biennale Arte, and I think is one of the most quietly radical propositions this year in Venice.

It’s a commission in the form of a thought process, from Greek myth (Orestes who kills his mother and is pardoned by Athena, a goddess not born of woman) to Partition memory via the Skipping Girl, moving through the city’s vaporetto signage and street posters. Well worth the visit.

#NaliniMalani #VeniceBiennale2026 #KiranNadarMuseumOfArt #RoobinaKarode #curatorview @deepanjanaklein @rbtmanuel @galerielelong @galerielelongparis

@nalinimalani exhibition for the 2026 @labiennale in Venice is somehow raw and powerful: drawings made finger by finger on an iPad — 33,000 of them — projected into a dark space that has no temperature control or climate management, only history and bricks and the residue of centuries of Venetian trade.

Of Woman Born, curated by @roobinakarode Artistic Director of @knmaindia Kiran Nadar Museum of Art, New Delhi, is presented at Magazzini del Sale no. 5 as an official Collateral Event of the 61st Biennale Arte, and I think is one of the most quietly radical propositions this year in Venice.

It’s a commission in the form of a thought process, from Greek myth (Orestes who kills his mother and is pardoned by Athena, a goddess not born of woman) to Partition memory via the Skipping Girl, moving through the city’s vaporetto signage and street posters. Well worth the visit.

#NaliniMalani #VeniceBiennale2026 #KiranNadarMuseumOfArt #RoobinaKarode #curatorview @deepanjanaklein @rbtmanuel @galerielelong @galerielelongparis

@nalinimalani exhibition for the 2026 @labiennale in Venice is somehow raw and powerful: drawings made finger by finger on an iPad — 33,000 of them — projected into a dark space that has no temperature control or climate management, only history and bricks and the residue of centuries of Venetian trade.

Of Woman Born, curated by @roobinakarode Artistic Director of @knmaindia Kiran Nadar Museum of Art, New Delhi, is presented at Magazzini del Sale no. 5 as an official Collateral Event of the 61st Biennale Arte, and I think is one of the most quietly radical propositions this year in Venice.

It’s a commission in the form of a thought process, from Greek myth (Orestes who kills his mother and is pardoned by Athena, a goddess not born of woman) to Partition memory via the Skipping Girl, moving through the city’s vaporetto signage and street posters. Well worth the visit.

#NaliniMalani #VeniceBiennale2026 #KiranNadarMuseumOfArt #RoobinaKarode #curatorview @deepanjanaklein @rbtmanuel @galerielelong @galerielelongparis

An exhibition that someone described as the “unofficial US Pavilion” - and it may be on point.

Helter Skelter: Arthur Jafa and Richard Prince, curated by @nespector at @fondazioneprada in Venice is a rather sharp pairing of this 2026 @labiennale . Briefly put, it’s an excavation of American vernacular as both wound and weapon.

@anamibia and @richardprince1994 share almost nothing stylistically, and everything structurally, like the pirate logic of the image or the readymade approach as self-authorization. The title is itself a fairground ride, from a Beatles track to a 1992 LA show that excluded Black artists, and everything in-between: that history is all on the floor.

#HolterSkelterVenice #ArthurJafa #RichardPrince #FondazionePrada #nancyspector

An exhibition that someone described as the “unofficial US Pavilion” - and it may be on point.

Helter Skelter: Arthur Jafa and Richard Prince, curated by @nespector at @fondazioneprada in Venice is a rather sharp pairing of this 2026 @labiennale . Briefly put, it’s an excavation of American vernacular as both wound and weapon.

@anamibia and @richardprince1994 share almost nothing stylistically, and everything structurally, like the pirate logic of the image or the readymade approach as self-authorization. The title is itself a fairground ride, from a Beatles track to a 1992 LA show that excluded Black artists, and everything in-between: that history is all on the floor.

#HolterSkelterVenice #ArthurJafa #RichardPrince #FondazionePrada #nancyspector

An exhibition that someone described as the “unofficial US Pavilion” - and it may be on point.

Helter Skelter: Arthur Jafa and Richard Prince, curated by @nespector at @fondazioneprada in Venice is a rather sharp pairing of this 2026 @labiennale . Briefly put, it’s an excavation of American vernacular as both wound and weapon.

@anamibia and @richardprince1994 share almost nothing stylistically, and everything structurally, like the pirate logic of the image or the readymade approach as self-authorization. The title is itself a fairground ride, from a Beatles track to a 1992 LA show that excluded Black artists, and everything in-between: that history is all on the floor.

#HolterSkelterVenice #ArthurJafa #RichardPrince #FondazionePrada #nancyspector

An exhibition that someone described as the “unofficial US Pavilion” - and it may be on point.

Helter Skelter: Arthur Jafa and Richard Prince, curated by @nespector at @fondazioneprada in Venice is a rather sharp pairing of this 2026 @labiennale . Briefly put, it’s an excavation of American vernacular as both wound and weapon.

@anamibia and @richardprince1994 share almost nothing stylistically, and everything structurally, like the pirate logic of the image or the readymade approach as self-authorization. The title is itself a fairground ride, from a Beatles track to a 1992 LA show that excluded Black artists, and everything in-between: that history is all on the floor.

#HolterSkelterVenice #ArthurJafa #RichardPrince #FondazionePrada #nancyspector

An exhibition that someone described as the “unofficial US Pavilion” - and it may be on point.

Helter Skelter: Arthur Jafa and Richard Prince, curated by @nespector at @fondazioneprada in Venice is a rather sharp pairing of this 2026 @labiennale . Briefly put, it’s an excavation of American vernacular as both wound and weapon.

@anamibia and @richardprince1994 share almost nothing stylistically, and everything structurally, like the pirate logic of the image or the readymade approach as self-authorization. The title is itself a fairground ride, from a Beatles track to a 1992 LA show that excluded Black artists, and everything in-between: that history is all on the floor.

#HolterSkelterVenice #ArthurJafa #RichardPrince #FondazionePrada #nancyspector

An exhibition that someone described as the “unofficial US Pavilion” - and it may be on point.

Helter Skelter: Arthur Jafa and Richard Prince, curated by @nespector at @fondazioneprada in Venice is a rather sharp pairing of this 2026 @labiennale . Briefly put, it’s an excavation of American vernacular as both wound and weapon.

@anamibia and @richardprince1994 share almost nothing stylistically, and everything structurally, like the pirate logic of the image or the readymade approach as self-authorization. The title is itself a fairground ride, from a Beatles track to a 1992 LA show that excluded Black artists, and everything in-between: that history is all on the floor.

#HolterSkelterVenice #ArthurJafa #RichardPrince #FondazionePrada #nancyspector

An exhibition that someone described as the “unofficial US Pavilion” - and it may be on point.

Helter Skelter: Arthur Jafa and Richard Prince, curated by @nespector at @fondazioneprada in Venice is a rather sharp pairing of this 2026 @labiennale . Briefly put, it’s an excavation of American vernacular as both wound and weapon.

@anamibia and @richardprince1994 share almost nothing stylistically, and everything structurally, like the pirate logic of the image or the readymade approach as self-authorization. The title is itself a fairground ride, from a Beatles track to a 1992 LA show that excluded Black artists, and everything in-between: that history is all on the floor.

#HolterSkelterVenice #ArthurJafa #RichardPrince #FondazionePrada #nancyspector

An exhibition that someone described as the “unofficial US Pavilion” - and it may be on point.

Helter Skelter: Arthur Jafa and Richard Prince, curated by @nespector at @fondazioneprada in Venice is a rather sharp pairing of this 2026 @labiennale . Briefly put, it’s an excavation of American vernacular as both wound and weapon.

@anamibia and @richardprince1994 share almost nothing stylistically, and everything structurally, like the pirate logic of the image or the readymade approach as self-authorization. The title is itself a fairground ride, from a Beatles track to a 1992 LA show that excluded Black artists, and everything in-between: that history is all on the floor.

#HolterSkelterVenice #ArthurJafa #RichardPrince #FondazionePrada #nancyspector

An exhibition that someone described as the “unofficial US Pavilion” - and it may be on point.

Helter Skelter: Arthur Jafa and Richard Prince, curated by @nespector at @fondazioneprada in Venice is a rather sharp pairing of this 2026 @labiennale . Briefly put, it’s an excavation of American vernacular as both wound and weapon.

@anamibia and @richardprince1994 share almost nothing stylistically, and everything structurally, like the pirate logic of the image or the readymade approach as self-authorization. The title is itself a fairground ride, from a Beatles track to a 1992 LA show that excluded Black artists, and everything in-between: that history is all on the floor.

#HolterSkelterVenice #ArthurJafa #RichardPrince #FondazionePrada #nancyspector

An exhibition that someone described as the “unofficial US Pavilion” - and it may be on point.

Helter Skelter: Arthur Jafa and Richard Prince, curated by @nespector at @fondazioneprada in Venice is a rather sharp pairing of this 2026 @labiennale . Briefly put, it’s an excavation of American vernacular as both wound and weapon.

@anamibia and @richardprince1994 share almost nothing stylistically, and everything structurally, like the pirate logic of the image or the readymade approach as self-authorization. The title is itself a fairground ride, from a Beatles track to a 1992 LA show that excluded Black artists, and everything in-between: that history is all on the floor.

#HolterSkelterVenice #ArthurJafa #RichardPrince #FondazionePrada #nancyspector

An exhibition that someone described as the “unofficial US Pavilion” - and it may be on point.

Helter Skelter: Arthur Jafa and Richard Prince, curated by @nespector at @fondazioneprada in Venice is a rather sharp pairing of this 2026 @labiennale . Briefly put, it’s an excavation of American vernacular as both wound and weapon.

@anamibia and @richardprince1994 share almost nothing stylistically, and everything structurally, like the pirate logic of the image or the readymade approach as self-authorization. The title is itself a fairground ride, from a Beatles track to a 1992 LA show that excluded Black artists, and everything in-between: that history is all on the floor.

#HolterSkelterVenice #ArthurJafa #RichardPrince #FondazionePrada #nancyspector

An exhibition that someone described as the “unofficial US Pavilion” - and it may be on point.

Helter Skelter: Arthur Jafa and Richard Prince, curated by @nespector at @fondazioneprada in Venice is a rather sharp pairing of this 2026 @labiennale . Briefly put, it’s an excavation of American vernacular as both wound and weapon.

@anamibia and @richardprince1994 share almost nothing stylistically, and everything structurally, like the pirate logic of the image or the readymade approach as self-authorization. The title is itself a fairground ride, from a Beatles track to a 1992 LA show that excluded Black artists, and everything in-between: that history is all on the floor.

#HolterSkelterVenice #ArthurJafa #RichardPrince #FondazionePrada #nancyspector

An exhibition that someone described as the “unofficial US Pavilion” - and it may be on point.

Helter Skelter: Arthur Jafa and Richard Prince, curated by @nespector at @fondazioneprada in Venice is a rather sharp pairing of this 2026 @labiennale . Briefly put, it’s an excavation of American vernacular as both wound and weapon.

@anamibia and @richardprince1994 share almost nothing stylistically, and everything structurally, like the pirate logic of the image or the readymade approach as self-authorization. The title is itself a fairground ride, from a Beatles track to a 1992 LA show that excluded Black artists, and everything in-between: that history is all on the floor.

#HolterSkelterVenice #ArthurJafa #RichardPrince #FondazionePrada #nancyspector

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

‘Cosmotechnics: Ding Yi as a Planetary Code’ is now on view at Fondazione Querini Stampalia (@fondazionequerinistampalia), coinciding with the opening of the 61st International Art Exhibition of La Biennale di Venezia.

Since 1988, Ding Yi (@dingyiartstudio) has painted a single motif: the cross. One of China’s foremost abstractionists, he has made this universal coordinate marker the basis of an evolving, rigorous practice spanning nearly four decades.

Presented in dialogue with Carlo Scarpa’s architecture and garden, this exhibition brings together new and historic works alongside a series of stone steles, tracing the development of Ding Yi’s visual language within one of Venice’s most resonant spaces.

The title draws on philosopher Yuk Hui’s concept of Cosmotechnics—the idea that technical activity can unite cosmic order with moral life. Here, the cross functions not as symbol but as algorithm: a repeatable micro-gesture that makes time, attention, and relationality visible. The works transform the Area Scarpa into a contemplative passage, their rhythm and accumulation evoking the meandering structure of a traditional Chinese garden.

Curated by Alfredo Cramerotti (@curatorview) and Auronda Scalera (@aurondascalera). Presented by the Fondazione Querini Stampalia with the support of Lisson and ShanghART (@shanghartgallery).

🗓️ 9 May – 22 November 2026

📍Fondazione Querini Stampalia, Venice, Italy

🔗 Explore at the link in bio.

Image 1-2, 4-7, 9-10: Installation view of ‘Cosmotechnics: Ding Yi as a Planetary Code’, 9 May – 22 November 2026, Fondazione Querini Stampalia, Venice, Italy
Image 3: ‘Appearance of Crosses Stele 2025-2’, 2025, detail
Image 8: ‘Appearance of Crosses 2026-3’, 2026, detail
Image 11-12: ‘Appearance of Crosses 2025-30’, 2026, detail

#DingYi #LissonGallery #ShanghART #FondazioneQueriniStampalia #LaBiennalediVenezia

#OpenCall: DEADLINE EXTENDED 📣

Submit for your chance at a 250€ Guest Room Scholarship!

Submit by May 13 for the chance to receive the 250 € Der Greif Guest Room Scholarship and have your work seen by Auronda Scalera (@aurondascalera) and Alfredo Cramerotti (@curatorview).

This edition of Guest Room explores the theme:

"Shifting Thresholds”

This open call asks how images can articulate displacement, migration, technological mediation, ecological change, and emotional estrangement. Rather than treating displacement solely as a physical or political condition, the call frames it as an aesthetic condition shaped by constant social, technological, and ecological flux. Conceiving images as “seismographs of the present,” it seeks photographic practices that inhabit instability rather than simply document it. Through fragmentation, mutation, and ambiguity, selected works should translate rupture into new visual languages and challenge fixed narratives, opening space for alternative forms of collective belonging in a world defined by movement.

Why submit?
• 250 € Guest Room Scholarship
• Online showcase on Der Greif
• Win a Face-to-Face feedback session with the curators

📷 Submit a photographic or image-based series or vídeo work for free or for a voluntary 10 € donation
📩 Via @picter_com

Please note: images and videos previously selected for a Der Greif opportunity are not eligible for re-submission.

Der Greif is partnering with the Deutsche Börse Photography Foundation (@dboersephotographyfoundation) to support the Guest Room format in funding curator honoraria.

#DerGreif #GuestRoom #OpenCall #ContemporaryPhotography

#OpenCall: DEADLINE EXTENDED 📣

Submit for your chance at a 250€ Guest Room Scholarship!

Submit by May 13 for the chance to receive the 250 € Der Greif Guest Room Scholarship and have your work seen by Auronda Scalera (@aurondascalera) and Alfredo Cramerotti (@curatorview).

This edition of Guest Room explores the theme:

"Shifting Thresholds”

This open call asks how images can articulate displacement, migration, technological mediation, ecological change, and emotional estrangement. Rather than treating displacement solely as a physical or political condition, the call frames it as an aesthetic condition shaped by constant social, technological, and ecological flux. Conceiving images as “seismographs of the present,” it seeks photographic practices that inhabit instability rather than simply document it. Through fragmentation, mutation, and ambiguity, selected works should translate rupture into new visual languages and challenge fixed narratives, opening space for alternative forms of collective belonging in a world defined by movement.

Why submit?
• 250 € Guest Room Scholarship
• Online showcase on Der Greif
• Win a Face-to-Face feedback session with the curators

📷 Submit a photographic or image-based series or vídeo work for free or for a voluntary 10 € donation
📩 Via @picter_com

Please note: images and videos previously selected for a Der Greif opportunity are not eligible for re-submission.

Der Greif is partnering with the Deutsche Börse Photography Foundation (@dboersephotographyfoundation) to support the Guest Room format in funding curator honoraria.

#DerGreif #GuestRoom #OpenCall #ContemporaryPhotography

#OpenCall: DEADLINE EXTENDED 📣

Submit for your chance at a 250€ Guest Room Scholarship!

Submit by May 13 for the chance to receive the 250 € Der Greif Guest Room Scholarship and have your work seen by Auronda Scalera (@aurondascalera) and Alfredo Cramerotti (@curatorview).

This edition of Guest Room explores the theme:

"Shifting Thresholds”

This open call asks how images can articulate displacement, migration, technological mediation, ecological change, and emotional estrangement. Rather than treating displacement solely as a physical or political condition, the call frames it as an aesthetic condition shaped by constant social, technological, and ecological flux. Conceiving images as “seismographs of the present,” it seeks photographic practices that inhabit instability rather than simply document it. Through fragmentation, mutation, and ambiguity, selected works should translate rupture into new visual languages and challenge fixed narratives, opening space for alternative forms of collective belonging in a world defined by movement.

Why submit?
• 250 € Guest Room Scholarship
• Online showcase on Der Greif
• Win a Face-to-Face feedback session with the curators

📷 Submit a photographic or image-based series or vídeo work for free or for a voluntary 10 € donation
📩 Via @picter_com

Please note: images and videos previously selected for a Der Greif opportunity are not eligible for re-submission.

Der Greif is partnering with the Deutsche Börse Photography Foundation (@dboersephotographyfoundation) to support the Guest Room format in funding curator honoraria.

#DerGreif #GuestRoom #OpenCall #ContemporaryPhotography

#OpenCall: DEADLINE EXTENDED 📣

Submit for your chance at a 250€ Guest Room Scholarship!

Submit by May 13 for the chance to receive the 250 € Der Greif Guest Room Scholarship and have your work seen by Auronda Scalera (@aurondascalera) and Alfredo Cramerotti (@curatorview).

This edition of Guest Room explores the theme:

"Shifting Thresholds”

This open call asks how images can articulate displacement, migration, technological mediation, ecological change, and emotional estrangement. Rather than treating displacement solely as a physical or political condition, the call frames it as an aesthetic condition shaped by constant social, technological, and ecological flux. Conceiving images as “seismographs of the present,” it seeks photographic practices that inhabit instability rather than simply document it. Through fragmentation, mutation, and ambiguity, selected works should translate rupture into new visual languages and challenge fixed narratives, opening space for alternative forms of collective belonging in a world defined by movement.

Why submit?
• 250 € Guest Room Scholarship
• Online showcase on Der Greif
• Win a Face-to-Face feedback session with the curators

📷 Submit a photographic or image-based series or vídeo work for free or for a voluntary 10 € donation
📩 Via @picter_com

Please note: images and videos previously selected for a Der Greif opportunity are not eligible for re-submission.

Der Greif is partnering with the Deutsche Börse Photography Foundation (@dboersephotographyfoundation) to support the Guest Room format in funding curator honoraria.

#DerGreif #GuestRoom #OpenCall #ContemporaryPhotography

UNIQUE OPPORTUNITY to be inside the most beautiful Palazzo in Venice and watch the exhibition organised by Lisson Gallery, Pace Gallery and Perrotin Gallery for the Biennale

Worldwide film screening of Ding Yi’s Film on the 5th of May at 6pm at Fondazione Querini Stampalia

Happy to be the curator of Ding Yi’s exhibition,with Alfredo Cramerotti @curatorview for @lisson_gallery @shanghartgallery

From 5 May during the Venice Biennale at Cinema Querini Stampalia: a one-of-a-kind multiplex where you can watch an episodic film. Opening Tuesday 5 May at 6pm 🥂

In the rooms of Cinema Querini Stampalia, the simultaneous “screenings” include an astro-terrestrial journey among monoliths of this and other worlds with Cosmotechnics: Ding Yi as a planetary code. By Lisson Gallery

Nigel Cooke who literally leaps through the Bad Habits of painting, and finally, perhaps everything moves and tunes itself to the notes of an imaginary soundtrack that can be composed through The Invisible Chord. By Pace Gallery

Hans Hartung and Music. By Perrotin Gallery

Everyone inside everyone’s dream, or just everyone inside someone else’s dream, but certainly inside Fondazione Querini, the cinema you didn’t expect: a peculiar cinematic architecture with the Scarpa, Botta, and De Lucchi rooms inside a 16th-century palazzo.

Fondazione Querini Stampalia
Santa Maria Formosa
Castello 5252, 30122 – Venice

UNIQUE OPPORTUNITY to be inside the most beautiful Palazzo in Venice and watch the exhibition organised by Lisson Gallery, Pace Gallery and Perrotin Gallery for the Biennale

Worldwide film screening of Ding Yi’s Film on the 5th of May at 6pm at Fondazione Querini Stampalia

Happy to be the curator of Ding Yi’s exhibition,with Alfredo Cramerotti @curatorview for @lisson_gallery @shanghartgallery

From 5 May during the Venice Biennale at Cinema Querini Stampalia: a one-of-a-kind multiplex where you can watch an episodic film. Opening Tuesday 5 May at 6pm 🥂

In the rooms of Cinema Querini Stampalia, the simultaneous “screenings” include an astro-terrestrial journey among monoliths of this and other worlds with Cosmotechnics: Ding Yi as a planetary code. By Lisson Gallery

Nigel Cooke who literally leaps through the Bad Habits of painting, and finally, perhaps everything moves and tunes itself to the notes of an imaginary soundtrack that can be composed through The Invisible Chord. By Pace Gallery

Hans Hartung and Music. By Perrotin Gallery

Everyone inside everyone’s dream, or just everyone inside someone else’s dream, but certainly inside Fondazione Querini, the cinema you didn’t expect: a peculiar cinematic architecture with the Scarpa, Botta, and De Lucchi rooms inside a 16th-century palazzo.

Fondazione Querini Stampalia
Santa Maria Formosa
Castello 5252, 30122 – Venice

UNIQUE OPPORTUNITY to be inside the most beautiful Palazzo in Venice and watch the exhibition organised by Lisson Gallery, Pace Gallery and Perrotin Gallery for the Biennale

Worldwide film screening of Ding Yi’s Film on the 5th of May at 6pm at Fondazione Querini Stampalia

Happy to be the curator of Ding Yi’s exhibition,with Alfredo Cramerotti @curatorview for @lisson_gallery @shanghartgallery

From 5 May during the Venice Biennale at Cinema Querini Stampalia: a one-of-a-kind multiplex where you can watch an episodic film. Opening Tuesday 5 May at 6pm 🥂

In the rooms of Cinema Querini Stampalia, the simultaneous “screenings” include an astro-terrestrial journey among monoliths of this and other worlds with Cosmotechnics: Ding Yi as a planetary code. By Lisson Gallery

Nigel Cooke who literally leaps through the Bad Habits of painting, and finally, perhaps everything moves and tunes itself to the notes of an imaginary soundtrack that can be composed through The Invisible Chord. By Pace Gallery

Hans Hartung and Music. By Perrotin Gallery

Everyone inside everyone’s dream, or just everyone inside someone else’s dream, but certainly inside Fondazione Querini, the cinema you didn’t expect: a peculiar cinematic architecture with the Scarpa, Botta, and De Lucchi rooms inside a 16th-century palazzo.

Fondazione Querini Stampalia
Santa Maria Formosa
Castello 5252, 30122 – Venice

Il Museo nazionale dell’Arte digitale presenta “Body Machine (Meridians)” in collaborazione con Palazzo Citterio,l’installazione immersiva di Sougwen Chung che intreccia disegno, performance, robotica e intelligenza artificiale in un dialogo continuo tra corpo umano e macchina.

Curata da Auronda Scalera e Alfredo Cramerotti, l’opera trasforma dati di movimento, luce e suono in un paesaggio fluido e immersivo.

Tra ghiacciai artici, machine learning e atmosfere digitali, “Body Machine (Meridians)” invita a riflettere sulle connessioni tra corpo, tecnologia e pianeta.

🗓️Fino al 14 luglio
📍Ledwall di Pazzo Citterio

Vi aspettiamo!😊

#MNAD #GrandeBrera #PalazzoCitterio #MuseoNazionaleDellArteDigitale #mostre
Foto: Cesare Maiocchi

Il Museo nazionale dell’Arte digitale presenta “Body Machine (Meridians)” in collaborazione con Palazzo Citterio,l’installazione immersiva di Sougwen Chung che intreccia disegno, performance, robotica e intelligenza artificiale in un dialogo continuo tra corpo umano e macchina.

Curata da Auronda Scalera e Alfredo Cramerotti, l’opera trasforma dati di movimento, luce e suono in un paesaggio fluido e immersivo.

Tra ghiacciai artici, machine learning e atmosfere digitali, “Body Machine (Meridians)” invita a riflettere sulle connessioni tra corpo, tecnologia e pianeta.

🗓️Fino al 14 luglio
📍Ledwall di Pazzo Citterio

Vi aspettiamo!😊

#MNAD #GrandeBrera #PalazzoCitterio #MuseoNazionaleDellArteDigitale #mostre
Foto: Cesare Maiocchi

Il Museo nazionale dell’Arte digitale presenta “Body Machine (Meridians)” in collaborazione con Palazzo Citterio,l’installazione immersiva di Sougwen Chung che intreccia disegno, performance, robotica e intelligenza artificiale in un dialogo continuo tra corpo umano e macchina.

Curata da Auronda Scalera e Alfredo Cramerotti, l’opera trasforma dati di movimento, luce e suono in un paesaggio fluido e immersivo.

Tra ghiacciai artici, machine learning e atmosfere digitali, “Body Machine (Meridians)” invita a riflettere sulle connessioni tra corpo, tecnologia e pianeta.

🗓️Fino al 14 luglio
📍Ledwall di Pazzo Citterio

Vi aspettiamo!😊

#MNAD #GrandeBrera #PalazzoCitterio #MuseoNazionaleDellArteDigitale #mostre
Foto: Cesare Maiocchi

Il Museo nazionale dell’Arte digitale presenta “Body Machine (Meridians)” in collaborazione con Palazzo Citterio,l’installazione immersiva di Sougwen Chung che intreccia disegno, performance, robotica e intelligenza artificiale in un dialogo continuo tra corpo umano e macchina.

Curata da Auronda Scalera e Alfredo Cramerotti, l’opera trasforma dati di movimento, luce e suono in un paesaggio fluido e immersivo.

Tra ghiacciai artici, machine learning e atmosfere digitali, “Body Machine (Meridians)” invita a riflettere sulle connessioni tra corpo, tecnologia e pianeta.

🗓️Fino al 14 luglio
📍Ledwall di Pazzo Citterio

Vi aspettiamo!😊

#MNAD #GrandeBrera #PalazzoCitterio #MuseoNazionaleDellArteDigitale #mostre
Foto: Cesare Maiocchi

Il Museo nazionale dell’Arte digitale presenta “Body Machine (Meridians)” in collaborazione con Palazzo Citterio,l’installazione immersiva di Sougwen Chung che intreccia disegno, performance, robotica e intelligenza artificiale in un dialogo continuo tra corpo umano e macchina.

Curata da Auronda Scalera e Alfredo Cramerotti, l’opera trasforma dati di movimento, luce e suono in un paesaggio fluido e immersivo.

Tra ghiacciai artici, machine learning e atmosfere digitali, “Body Machine (Meridians)” invita a riflettere sulle connessioni tra corpo, tecnologia e pianeta.

🗓️Fino al 14 luglio
📍Ledwall di Pazzo Citterio

Vi aspettiamo!😊

#MNAD #GrandeBrera #PalazzoCitterio #MuseoNazionaleDellArteDigitale #mostre
Foto: Cesare Maiocchi

Il Museo nazionale dell’Arte digitale presenta “Body Machine (Meridians)” in collaborazione con Palazzo Citterio,l’installazione immersiva di Sougwen Chung che intreccia disegno, performance, robotica e intelligenza artificiale in un dialogo continuo tra corpo umano e macchina.

Curata da Auronda Scalera e Alfredo Cramerotti, l’opera trasforma dati di movimento, luce e suono in un paesaggio fluido e immersivo.

Tra ghiacciai artici, machine learning e atmosfere digitali, “Body Machine (Meridians)” invita a riflettere sulle connessioni tra corpo, tecnologia e pianeta.

🗓️Fino al 14 luglio
📍Ledwall di Pazzo Citterio

Vi aspettiamo!😊

#MNAD #GrandeBrera #PalazzoCitterio #MuseoNazionaleDellArteDigitale #mostre
Foto: Cesare Maiocchi

Il Museo nazionale dell’Arte digitale presenta “Body Machine (Meridians)” in collaborazione con Palazzo Citterio,l’installazione immersiva di Sougwen Chung che intreccia disegno, performance, robotica e intelligenza artificiale in un dialogo continuo tra corpo umano e macchina.

Curata da Auronda Scalera e Alfredo Cramerotti, l’opera trasforma dati di movimento, luce e suono in un paesaggio fluido e immersivo.

Tra ghiacciai artici, machine learning e atmosfere digitali, “Body Machine (Meridians)” invita a riflettere sulle connessioni tra corpo, tecnologia e pianeta.

🗓️Fino al 14 luglio
📍Ledwall di Pazzo Citterio

Vi aspettiamo!😊

#MNAD #GrandeBrera #PalazzoCitterio #MuseoNazionaleDellArteDigitale #mostre
Foto: Cesare Maiocchi

Il Museo nazionale dell’Arte digitale presenta “Body Machine (Meridians)” in collaborazione con Palazzo Citterio,l’installazione immersiva di Sougwen Chung che intreccia disegno, performance, robotica e intelligenza artificiale in un dialogo continuo tra corpo umano e macchina.

Curata da Auronda Scalera e Alfredo Cramerotti, l’opera trasforma dati di movimento, luce e suono in un paesaggio fluido e immersivo.

Tra ghiacciai artici, machine learning e atmosfere digitali, “Body Machine (Meridians)” invita a riflettere sulle connessioni tra corpo, tecnologia e pianeta.

🗓️Fino al 14 luglio
📍Ledwall di Pazzo Citterio

Vi aspettiamo!😊

#MNAD #GrandeBrera #PalazzoCitterio #MuseoNazionaleDellArteDigitale #mostre
Foto: Cesare Maiocchi

Il Museo nazionale dell’Arte digitale presenta “Body Machine (Meridians)” in collaborazione con Palazzo Citterio,l’installazione immersiva di Sougwen Chung che intreccia disegno, performance, robotica e intelligenza artificiale in un dialogo continuo tra corpo umano e macchina.

Curata da Auronda Scalera e Alfredo Cramerotti, l’opera trasforma dati di movimento, luce e suono in un paesaggio fluido e immersivo.

Tra ghiacciai artici, machine learning e atmosfere digitali, “Body Machine (Meridians)” invita a riflettere sulle connessioni tra corpo, tecnologia e pianeta.

🗓️Fino al 14 luglio
📍Ledwall di Pazzo Citterio

Vi aspettiamo!😊

#MNAD #GrandeBrera #PalazzoCitterio #MuseoNazionaleDellArteDigitale #mostre
Foto: Cesare Maiocchi

Il Museo nazionale dell’Arte digitale presenta “Body Machine (Meridians)” in collaborazione con Palazzo Citterio,l’installazione immersiva di Sougwen Chung che intreccia disegno, performance, robotica e intelligenza artificiale in un dialogo continuo tra corpo umano e macchina.

Curata da Auronda Scalera e Alfredo Cramerotti, l’opera trasforma dati di movimento, luce e suono in un paesaggio fluido e immersivo.

Tra ghiacciai artici, machine learning e atmosfere digitali, “Body Machine (Meridians)” invita a riflettere sulle connessioni tra corpo, tecnologia e pianeta.

🗓️Fino al 14 luglio
📍Ledwall di Pazzo Citterio

Vi aspettiamo!😊

#MNAD #GrandeBrera #PalazzoCitterio #MuseoNazionaleDellArteDigitale #mostre
Foto: Cesare Maiocchi

Il Museo nazionale dell’Arte digitale presenta “Body Machine (Meridians)” in collaborazione con Palazzo Citterio,l’installazione immersiva di Sougwen Chung che intreccia disegno, performance, robotica e intelligenza artificiale in un dialogo continuo tra corpo umano e macchina.

Curata da Auronda Scalera e Alfredo Cramerotti, l’opera trasforma dati di movimento, luce e suono in un paesaggio fluido e immersivo.

Tra ghiacciai artici, machine learning e atmosfere digitali, “Body Machine (Meridians)” invita a riflettere sulle connessioni tra corpo, tecnologia e pianeta.

🗓️Fino al 14 luglio
📍Ledwall di Pazzo Citterio

Vi aspettiamo!😊

#MNAD #GrandeBrera #PalazzoCitterio #MuseoNazionaleDellArteDigitale #mostre
Foto: Cesare Maiocchi

Il Museo nazionale dell’Arte digitale presenta “Body Machine (Meridians)” in collaborazione con Palazzo Citterio,l’installazione immersiva di Sougwen Chung che intreccia disegno, performance, robotica e intelligenza artificiale in un dialogo continuo tra corpo umano e macchina.

Curata da Auronda Scalera e Alfredo Cramerotti, l’opera trasforma dati di movimento, luce e suono in un paesaggio fluido e immersivo.

Tra ghiacciai artici, machine learning e atmosfere digitali, “Body Machine (Meridians)” invita a riflettere sulle connessioni tra corpo, tecnologia e pianeta.

🗓️Fino al 14 luglio
📍Ledwall di Pazzo Citterio

Vi aspettiamo!😊

#MNAD #GrandeBrera #PalazzoCitterio #MuseoNazionaleDellArteDigitale #mostre
Foto: Cesare Maiocchi

Il Museo nazionale dell’Arte digitale presenta “Body Machine (Meridians)” in collaborazione con Palazzo Citterio,l’installazione immersiva di Sougwen Chung che intreccia disegno, performance, robotica e intelligenza artificiale in un dialogo continuo tra corpo umano e macchina.

Curata da Auronda Scalera e Alfredo Cramerotti, l’opera trasforma dati di movimento, luce e suono in un paesaggio fluido e immersivo.

Tra ghiacciai artici, machine learning e atmosfere digitali, “Body Machine (Meridians)” invita a riflettere sulle connessioni tra corpo, tecnologia e pianeta.

🗓️Fino al 14 luglio
📍Ledwall di Pazzo Citterio

Vi aspettiamo!😊

#MNAD #GrandeBrera #PalazzoCitterio #MuseoNazionaleDellArteDigitale #mostre
Foto: Cesare Maiocchi

Il Museo nazionale dell’Arte digitale presenta “Body Machine (Meridians)” in collaborazione con Palazzo Citterio,l’installazione immersiva di Sougwen Chung che intreccia disegno, performance, robotica e intelligenza artificiale in un dialogo continuo tra corpo umano e macchina.

Curata da Auronda Scalera e Alfredo Cramerotti, l’opera trasforma dati di movimento, luce e suono in un paesaggio fluido e immersivo.

Tra ghiacciai artici, machine learning e atmosfere digitali, “Body Machine (Meridians)” invita a riflettere sulle connessioni tra corpo, tecnologia e pianeta.

🗓️Fino al 14 luglio
📍Ledwall di Pazzo Citterio

Vi aspettiamo!😊

#MNAD #GrandeBrera #PalazzoCitterio #MuseoNazionaleDellArteDigitale #mostre
Foto: Cesare Maiocchi

My new essay in collaboration with ZKM @zkmkarlsruhe and @cafaartmuseum , out now. ✦

Code and Cosmos: Media Art Across the Arab World, our latest research, published on @ma21_mediaart in collaboration with @zkmkarlsruhe.

From the Gulf to the Levant to North Africa, artists are not borrowing from Western tech paradigms but they are building something entirely their own: code becomes script, data meets land, and digital art is rooted in heritage, ecology, and cosmology.

We write about Lulwah Al-Homoud, Turki Alqahtani, Hadeer Omar, Samia Dzaïr, and many others plus the institutions reshaping what media art can mean and for whom.

This is a constellation of plural digital modernities. 🌐✦

Read it at ma21.org/en → link in bio.
—
#MediaArt #ArabArt #DigitalArt #ZKM #MA21

My new essay in collaboration with ZKM @zkmkarlsruhe and @cafaartmuseum , out now. ✦

Code and Cosmos: Media Art Across the Arab World, our latest research, published on @ma21_mediaart in collaboration with @zkmkarlsruhe.

From the Gulf to the Levant to North Africa, artists are not borrowing from Western tech paradigms but they are building something entirely their own: code becomes script, data meets land, and digital art is rooted in heritage, ecology, and cosmology.

We write about Lulwah Al-Homoud, Turki Alqahtani, Hadeer Omar, Samia Dzaïr, and many others plus the institutions reshaping what media art can mean and for whom.

This is a constellation of plural digital modernities. 🌐✦

Read it at ma21.org/en → link in bio.
—
#MediaArt #ArabArt #DigitalArt #ZKM #MA21

My new essay in collaboration with ZKM @zkmkarlsruhe and @cafaartmuseum , out now. ✦

Code and Cosmos: Media Art Across the Arab World, our latest research, published on @ma21_mediaart in collaboration with @zkmkarlsruhe.

From the Gulf to the Levant to North Africa, artists are not borrowing from Western tech paradigms but they are building something entirely their own: code becomes script, data meets land, and digital art is rooted in heritage, ecology, and cosmology.

We write about Lulwah Al-Homoud, Turki Alqahtani, Hadeer Omar, Samia Dzaïr, and many others plus the institutions reshaping what media art can mean and for whom.

This is a constellation of plural digital modernities. 🌐✦

Read it at ma21.org/en → link in bio.
—
#MediaArt #ArabArt #DigitalArt #ZKM #MA21

My new essay in collaboration with ZKM @zkmkarlsruhe and @cafaartmuseum , out now. ✦

Code and Cosmos: Media Art Across the Arab World, our latest research, published on @ma21_mediaart in collaboration with @zkmkarlsruhe.

From the Gulf to the Levant to North Africa, artists are not borrowing from Western tech paradigms but they are building something entirely their own: code becomes script, data meets land, and digital art is rooted in heritage, ecology, and cosmology.

We write about Lulwah Al-Homoud, Turki Alqahtani, Hadeer Omar, Samia Dzaïr, and many others plus the institutions reshaping what media art can mean and for whom.

This is a constellation of plural digital modernities. 🌐✦

Read it at ma21.org/en → link in bio.
—
#MediaArt #ArabArt #DigitalArt #ZKM #MA21

On until May 14th @mediamajlismuseum !
・・・
You’re not just visiting.
You’re part of What’s between, between?

▶️ See how.

📍 Media Majlis Museum, @nuqatar
🗓️ Jan 26 – May 14, 2026
🕙 Sunday – Thursday, 10am – 8pm

أنت لست مجرد زائر..
أنت جزء من معرض “ما بين البينين؟”

▶️ اكتشف كيف يكتمل المعرض بك.

📍متحف مجلس الإعلام
🗓️ 26 يناير – 14 مايو 2026
🕙 الأحد – الخميس، 10 صباحًا – 8 مساءً

#MediaMajlisMuseum #AlwaysAnotherSide #WhatsBetweenBetween #GulfFuturism #Qatar

@mediamajlismuseum
・・・
What’s between, between? continues!

⬅️ See more of what’s on view.

Trace what connects these works as you visit.

📍 Media Majlis Museum, @nuqatar
🗓️ Jan 26 – May 14, 2026
🕙 Sunday – Thursday, 10am – 8pm

معرض “ما بين البينين؟” ما زال بانتظارك.

⬅️ اطّلع على الأعمال الفنية المعروضة.

تفضّل بزيارة المعرض لاكتشاف أوجه التشابه بين مختلف الأعمال.

📍 متحف مجلس الإعلام
🗓️ 26 يناير – 14 مايو 2026
🕙 الأحد – الخميس، 10 صباحًا – 8 مساءً

#MediaMajlisMuseum #AlwaysAnotherSide #WhatsBetweenBetween #GulfFuturism Qatar

Dal 23 aprile, il Ledwall di Palazzo Citterio accoglie Body Machine (Meridians), il nuovo progetto di Sougwen Chung, tra le voci più innovative della scena internazionale dell’arte digitale.

A cura di Auronda Scalera e Alfredo Cramerotti, la mostra nasce dalla collaborazione tra Palazzo Citterio e il Museo nazionale dell’Arte digitale, all’interno di un programma dedicato alle nuove pratiche artistiche.

Un’installazione artistica che presenta performance, intelligenza artificiale e dati ambientali, dando vita a un sistema in continua trasformazione fatto di luce, suono e movimento.

Al centro, una riflessione sul rapporto tra corpo umano e macchina: non più strumenti separati, ma entità che apprendono, si ascoltano e co-evolvono.

Una mostra che invita il pubblico a rallentare e a sintonizzarsi su nuovi equilibri tra tecnologia e natura.

📍 Palazzo Citterio
📅 23 aprile – 14 luglio 2026

#palazzocitterio #grandebrera #mand #ledwall #mostre