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Hugo McCloud’s still-life flower series began as a meditative practice—a daily ritual and quiet, repetitive gesture—that has evolved into a nuanced body of work that explores beauty and fragility, while increasingly attending to light, shadow, and perception.

Each composition is constructed from fragments of single-use plastic sourced from everyday waste, cut, heated, and adhered onto panel, then elaborated with oil paint to further define the floral elements. As the series has developed, McCloud has placed greater emphasis on shifting light—how illumination activates the surface, catches edges, and produces subtle transitions across the composition. Shadows are equally central to the compositions, grounding the arragements while introducing a temporal dimension that shifts with viewing conditions.

Referencing the long tradition of floral still-life painting, McCloud reimagines the genre through a contemporary lens, juxtaposing plastic’s durability with oil paint’s historical associations. This material tension is heightened by the interplay of light and shadow, which gives the works a quiet sense of movement despite their fixed form.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Images: Hugo McCloud, blended certainties, 2026, oil paint and single use plastic mounted on panel, 46 5/8 x 41 1/8 x 2 1/4 inches © Hugo McCloud Courtesy: the artist and Sean Kelly, New York

@hugomccloudstudio @tefaf @the_adaa #TEFAFNY

Hugo McCloud’s still-life flower series began as a meditative practice—a daily ritual and quiet, repetitive gesture—that has evolved into a nuanced body of work that explores beauty and fragility, while increasingly attending to light, shadow, and perception.

Each composition is constructed from fragments of single-use plastic sourced from everyday waste, cut, heated, and adhered onto panel, then elaborated with oil paint to further define the floral elements. As the series has developed, McCloud has placed greater emphasis on shifting light—how illumination activates the surface, catches edges, and produces subtle transitions across the composition. Shadows are equally central to the compositions, grounding the arragements while introducing a temporal dimension that shifts with viewing conditions.

Referencing the long tradition of floral still-life painting, McCloud reimagines the genre through a contemporary lens, juxtaposing plastic’s durability with oil paint’s historical associations. This material tension is heightened by the interplay of light and shadow, which gives the works a quiet sense of movement despite their fixed form.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Images: Hugo McCloud, blended certainties, 2026, oil paint and single use plastic mounted on panel, 46 5/8 x 41 1/8 x 2 1/4 inches © Hugo McCloud Courtesy: the artist and Sean Kelly, New York

@hugomccloudstudio @tefaf @the_adaa #TEFAFNY

Hugo McCloud’s still-life flower series began as a meditative practice—a daily ritual and quiet, repetitive gesture—that has evolved into a nuanced body of work that explores beauty and fragility, while increasingly attending to light, shadow, and perception.

Each composition is constructed from fragments of single-use plastic sourced from everyday waste, cut, heated, and adhered onto panel, then elaborated with oil paint to further define the floral elements. As the series has developed, McCloud has placed greater emphasis on shifting light—how illumination activates the surface, catches edges, and produces subtle transitions across the composition. Shadows are equally central to the compositions, grounding the arragements while introducing a temporal dimension that shifts with viewing conditions.

Referencing the long tradition of floral still-life painting, McCloud reimagines the genre through a contemporary lens, juxtaposing plastic’s durability with oil paint’s historical associations. This material tension is heightened by the interplay of light and shadow, which gives the works a quiet sense of movement despite their fixed form.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Images: Hugo McCloud, blended certainties, 2026, oil paint and single use plastic mounted on panel, 46 5/8 x 41 1/8 x 2 1/4 inches © Hugo McCloud Courtesy: the artist and Sean Kelly, New York

@hugomccloudstudio @tefaf @the_adaa #TEFAFNY

TEFAF New York 2026 is now open! Visit us at Stand 330 with a curated presentation that brings together historical and contemporary visionaries in discourse. Encompassing painting, sculpture, photography and works on paper, the booth is an investigation into history, materiality, and form.

Our booth features the work of Magdiel García Almanza, Louise Bourgeois, Julian Charrière, Jose Dávila, Marcel Duchamp, Laurent Grasso, Rebecca Horn, Idris Khan, Hugo McCloud, Sam Moyer, Shahzia Sikander, and Kehinde Wiley.

A salon-style installation of intimate smaller works features pieces from a broad range of artistic practices including Louise Bourgeois, Edgar Degas, Hilda Palafox, Loló Soldevilla, and Janiana Tschäpe.

Collectively, each artworks exemplify Sean Kelly Gallery’s commitment to exhibiting artists whose unique practices challenge conventional norms and inspire discourse surrounding art history and the contemporary issues of today.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Images: Sean Kelly at TEFAF New York 2026, May 15-19, 2026, New York, New York, Stand 330, Photo: Sebastiano Pellion di Persano, Courtesy: Sean Kelly New York

@magdiel448 @julian.charriere @josedavila @laurentgrasso @idriskhan_studio @hugomccloudstudio @sammemoyer @poni @shahzia.sikander @shahzia_sikander_studio @janainatschape @kehindewiley @tefaf @the_adaa #TEFAFNY

TEFAF New York 2026 is now open! Visit us at Stand 330 with a curated presentation that brings together historical and contemporary visionaries in discourse. Encompassing painting, sculpture, photography and works on paper, the booth is an investigation into history, materiality, and form.

Our booth features the work of Magdiel García Almanza, Louise Bourgeois, Julian Charrière, Jose Dávila, Marcel Duchamp, Laurent Grasso, Rebecca Horn, Idris Khan, Hugo McCloud, Sam Moyer, Shahzia Sikander, and Kehinde Wiley.

A salon-style installation of intimate smaller works features pieces from a broad range of artistic practices including Louise Bourgeois, Edgar Degas, Hilda Palafox, Loló Soldevilla, and Janiana Tschäpe.

Collectively, each artworks exemplify Sean Kelly Gallery’s commitment to exhibiting artists whose unique practices challenge conventional norms and inspire discourse surrounding art history and the contemporary issues of today.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Images: Sean Kelly at TEFAF New York 2026, May 15-19, 2026, New York, New York, Stand 330, Photo: Sebastiano Pellion di Persano, Courtesy: Sean Kelly New York

@magdiel448 @julian.charriere @josedavila @laurentgrasso @idriskhan_studio @hugomccloudstudio @sammemoyer @poni @shahzia.sikander @shahzia_sikander_studio @janainatschape @kehindewiley @tefaf @the_adaa #TEFAFNY

TEFAF New York 2026 is now open! Visit us at Stand 330 with a curated presentation that brings together historical and contemporary visionaries in discourse. Encompassing painting, sculpture, photography and works on paper, the booth is an investigation into history, materiality, and form.

Our booth features the work of Magdiel García Almanza, Louise Bourgeois, Julian Charrière, Jose Dávila, Marcel Duchamp, Laurent Grasso, Rebecca Horn, Idris Khan, Hugo McCloud, Sam Moyer, Shahzia Sikander, and Kehinde Wiley.

A salon-style installation of intimate smaller works features pieces from a broad range of artistic practices including Louise Bourgeois, Edgar Degas, Hilda Palafox, Loló Soldevilla, and Janiana Tschäpe.

Collectively, each artworks exemplify Sean Kelly Gallery’s commitment to exhibiting artists whose unique practices challenge conventional norms and inspire discourse surrounding art history and the contemporary issues of today.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Images: Sean Kelly at TEFAF New York 2026, May 15-19, 2026, New York, New York, Stand 330, Photo: Sebastiano Pellion di Persano, Courtesy: Sean Kelly New York

@magdiel448 @julian.charriere @josedavila @laurentgrasso @idriskhan_studio @hugomccloudstudio @sammemoyer @poni @shahzia.sikander @shahzia_sikander_studio @janainatschape @kehindewiley @tefaf @the_adaa #TEFAFNY

TEFAF New York 2026 is now open! Visit us at Stand 330 with a curated presentation that brings together historical and contemporary visionaries in discourse. Encompassing painting, sculpture, photography and works on paper, the booth is an investigation into history, materiality, and form.

Our booth features the work of Magdiel García Almanza, Louise Bourgeois, Julian Charrière, Jose Dávila, Marcel Duchamp, Laurent Grasso, Rebecca Horn, Idris Khan, Hugo McCloud, Sam Moyer, Shahzia Sikander, and Kehinde Wiley.

A salon-style installation of intimate smaller works features pieces from a broad range of artistic practices including Louise Bourgeois, Edgar Degas, Hilda Palafox, Loló Soldevilla, and Janiana Tschäpe.

Collectively, each artworks exemplify Sean Kelly Gallery’s commitment to exhibiting artists whose unique practices challenge conventional norms and inspire discourse surrounding art history and the contemporary issues of today.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Images: Sean Kelly at TEFAF New York 2026, May 15-19, 2026, New York, New York, Stand 330, Photo: Sebastiano Pellion di Persano, Courtesy: Sean Kelly New York

@magdiel448 @julian.charriere @josedavila @laurentgrasso @idriskhan_studio @hugomccloudstudio @sammemoyer @poni @shahzia.sikander @shahzia_sikander_studio @janainatschape @kehindewiley @tefaf @the_adaa #TEFAFNY

TEFAF New York 2026 is now open! Visit us at Stand 330 with a curated presentation that brings together historical and contemporary visionaries in discourse. Encompassing painting, sculpture, photography and works on paper, the booth is an investigation into history, materiality, and form.

Our booth features the work of Magdiel García Almanza, Louise Bourgeois, Julian Charrière, Jose Dávila, Marcel Duchamp, Laurent Grasso, Rebecca Horn, Idris Khan, Hugo McCloud, Sam Moyer, Shahzia Sikander, and Kehinde Wiley.

A salon-style installation of intimate smaller works features pieces from a broad range of artistic practices including Louise Bourgeois, Edgar Degas, Hilda Palafox, Loló Soldevilla, and Janiana Tschäpe.

Collectively, each artworks exemplify Sean Kelly Gallery’s commitment to exhibiting artists whose unique practices challenge conventional norms and inspire discourse surrounding art history and the contemporary issues of today.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Images: Sean Kelly at TEFAF New York 2026, May 15-19, 2026, New York, New York, Stand 330, Photo: Sebastiano Pellion di Persano, Courtesy: Sean Kelly New York

@magdiel448 @julian.charriere @josedavila @laurentgrasso @idriskhan_studio @hugomccloudstudio @sammemoyer @poni @shahzia.sikander @shahzia_sikander_studio @janainatschape @kehindewiley @tefaf @the_adaa #TEFAFNY

TEFAF New York 2026 is now open! Visit us at Stand 330 with a curated presentation that brings together historical and contemporary visionaries in discourse. Encompassing painting, sculpture, photography and works on paper, the booth is an investigation into history, materiality, and form.

Our booth features the work of Magdiel García Almanza, Louise Bourgeois, Julian Charrière, Jose Dávila, Marcel Duchamp, Laurent Grasso, Rebecca Horn, Idris Khan, Hugo McCloud, Sam Moyer, Shahzia Sikander, and Kehinde Wiley.

A salon-style installation of intimate smaller works features pieces from a broad range of artistic practices including Louise Bourgeois, Edgar Degas, Hilda Palafox, Loló Soldevilla, and Janiana Tschäpe.

Collectively, each artworks exemplify Sean Kelly Gallery’s commitment to exhibiting artists whose unique practices challenge conventional norms and inspire discourse surrounding art history and the contemporary issues of today.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Images: Sean Kelly at TEFAF New York 2026, May 15-19, 2026, New York, New York, Stand 330, Photo: Sebastiano Pellion di Persano, Courtesy: Sean Kelly New York

@magdiel448 @julian.charriere @josedavila @laurentgrasso @idriskhan_studio @hugomccloudstudio @sammemoyer @poni @shahzia.sikander @shahzia_sikander_studio @janainatschape @kehindewiley @tefaf @the_adaa #TEFAFNY

TEFAF New York 2026 is now open! Visit us at Stand 330 with a curated presentation that brings together historical and contemporary visionaries in discourse. Encompassing painting, sculpture, photography and works on paper, the booth is an investigation into history, materiality, and form.

Our booth features the work of Magdiel García Almanza, Louise Bourgeois, Julian Charrière, Jose Dávila, Marcel Duchamp, Laurent Grasso, Rebecca Horn, Idris Khan, Hugo McCloud, Sam Moyer, Shahzia Sikander, and Kehinde Wiley.

A salon-style installation of intimate smaller works features pieces from a broad range of artistic practices including Louise Bourgeois, Edgar Degas, Hilda Palafox, Loló Soldevilla, and Janiana Tschäpe.

Collectively, each artworks exemplify Sean Kelly Gallery’s commitment to exhibiting artists whose unique practices challenge conventional norms and inspire discourse surrounding art history and the contemporary issues of today.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Images: Sean Kelly at TEFAF New York 2026, May 15-19, 2026, New York, New York, Stand 330, Photo: Sebastiano Pellion di Persano, Courtesy: Sean Kelly New York

@magdiel448 @julian.charriere @josedavila @laurentgrasso @idriskhan_studio @hugomccloudstudio @sammemoyer @poni @shahzia.sikander @shahzia_sikander_studio @janainatschape @kehindewiley @tefaf @the_adaa #TEFAFNY

Sean Kelly Gallery is delighted to return to TEFAF New York today for the Preview with a curated presentation that brings together historical and contemporary visionaries in discourse. Encompassing painting, sculpture, photography and works on paper, the booth is an investigation into history, materiality, and form.

Rebecca Horn’s sculpture employs mechanized styluses piercing a vitrine, echoing the body and recalling the armatures used in her early performances. This particular vitrine, the title of which translates roughly as “Swirling Eyes,” was made at the time Horn was creating her body landscape paintings, works in which she references the figure through the repetition of circles, a symbol of unity and infinity, with no beginning and no end.

The mechanized wire needles or styluses move in and out of the vitrine repetitively, referencing the body as well as the needles and armatures she attached to her body in many of her early performances, which were about exploring and “feeling” space. Through her use of movement and the circle Horn strongly alludes to the work of Marcel Duchamp, an artist of great importance to her, referencing his utilization of his optical Roto Reliefs.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Image: Rebecca Horn, Augen Wirbel, 2015, steel, glass, painting on the surface of the glass, electronic device, motor, brass, wire, vitrine: 39 3/8 x 27 9/16 x 7 1/2 inches © Rebecca Horn Courtesy: the artist and Sean Kelly, New York

@tefaf @the_adaa #SeanKellyGallery

Sean Kelly Gallery is delighted to return to TEFAF New York today for the Preview with a curated presentation that brings together historical and contemporary visionaries in discourse. Encompassing painting, sculpture, photography and works on paper, the booth is an investigation into history, materiality, and form.

Rebecca Horn’s sculpture employs mechanized styluses piercing a vitrine, echoing the body and recalling the armatures used in her early performances. This particular vitrine, the title of which translates roughly as “Swirling Eyes,” was made at the time Horn was creating her body landscape paintings, works in which she references the figure through the repetition of circles, a symbol of unity and infinity, with no beginning and no end.

The mechanized wire needles or styluses move in and out of the vitrine repetitively, referencing the body as well as the needles and armatures she attached to her body in many of her early performances, which were about exploring and “feeling” space. Through her use of movement and the circle Horn strongly alludes to the work of Marcel Duchamp, an artist of great importance to her, referencing his utilization of his optical Roto Reliefs.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Image: Rebecca Horn, Augen Wirbel, 2015, steel, glass, painting on the surface of the glass, electronic device, motor, brass, wire, vitrine: 39 3/8 x 27 9/16 x 7 1/2 inches © Rebecca Horn Courtesy: the artist and Sean Kelly, New York

@tefaf @the_adaa #SeanKellyGallery

Sean Kelly Gallery is delighted to participate in TEFAF New York 2026 with a curated presentation that brings together historical and contemporary visionaries in discourse. Encompassing painting, sculpture, photography and works on paper, the booth is an investigation into history, materiality, and form.

Our booth features the work of Magdiel García Almanza, Louise Bourgeois, Julian Charrière, Jose Dávila, Marcel Duchamp, Laurent Grasso, Rebecca Horn, Idris Khan, Hugo McCloud, Sam Moyer, Shahzia Sikander, and Kehinde Wiley.

A salon-style installation of intimate smaller works features pieces from a broad range of artistic practices including Louise Bourgeois, Edgar Degas, Hilda Palafox, Loló Soldevilla, and Janiana Tschäpe.

Collectively, each artworks exemplify Sean Kelly Gallery’s commitment to exhibiting artists whose unique practices challenge conventional norms and inspire discourse surrounding art history and the contemporary issues of today.

@magdiel448 @julian.charriere @josedavila @laurentgrasso @idriskhan_studio @hugomccloudstudio @sammemoyer @poni @shahzia.sikander @shahzia_sikander_studio @janainatschape @kehindewiley @tefaf @the_adaa

Lindsay Adams (@Lindsaybriadams) is an artist whose paintings explore memory, place, imagination, and the emotional resonance of color through abstraction and gesture. Living with cerebral palsy, Adams approaches painting as both a physical and psychological space, where movement, perception, and personal history become embedded within the surface of the work.

In ‘SOIL’, her first solo exhibition at Sean Kelly Gallery, Adams presents eight new paintings that begin from a foundation of lamp black, using darkness as a generative starting point from which color and form emerge. Balancing luminosity with absorption, the works explore both the visibility and invisibility of Blackness while paying homage to the women in her family through deeply personal abstractions rooted in emotion, memory, and presence.

‘SOIL’ is on view at Sean Kelly Gallery (@seankellygallery) through May 30.

“Stacking, elevating, interrupting, or misaligning are gestures that point simultaneously to archaic forms of construction and to contemporary ways of structuring meaning.” - Jose Dávila

In the twentieth century, artists including Marcel Duchamp and Jannis Kounellis further demonstrated how meaning can emerge through acts of selection and placement. Duchamp’s readymades revealed that repositioning an object could radically shift its significance, while Kounellis explored how materials such as coal, steel, or burlap acquire historical and symbolic weight when placed within carefully constructed contexts.

Dávila continues this dialogue whilst foregrounding it in the physical realities of weight and gravity. In the studio, materials are moved, rotated, stacked, and repositioned until a relation appears that feels both precarious and inevitable. Gravity becomes an active collaborator in this process: once an object is placed, its consequences are real, and stability is never entirely guaranteed.

Images: Jose Dávila, Fundamental Concern, 2026, concrete, travertine marble and rocks
97 5/8 x 25 1/2 x 25 5/8 inches Photo: Agustín Arce © Jose Dávila Courtesy: the artist and Sean Kelly, New York; Installation view of Jose Dávila: The Simple Act of Positioning at Sean Kelly, New York, April 17 – May 30, 2026, Photography: Jason Wyche, Courtesy: Sean Kelly, New York

@josedavila #JoseDávila #SeanKellyNY

“Stacking, elevating, interrupting, or misaligning are gestures that point simultaneously to archaic forms of construction and to contemporary ways of structuring meaning.” - Jose Dávila

In the twentieth century, artists including Marcel Duchamp and Jannis Kounellis further demonstrated how meaning can emerge through acts of selection and placement. Duchamp’s readymades revealed that repositioning an object could radically shift its significance, while Kounellis explored how materials such as coal, steel, or burlap acquire historical and symbolic weight when placed within carefully constructed contexts.

Dávila continues this dialogue whilst foregrounding it in the physical realities of weight and gravity. In the studio, materials are moved, rotated, stacked, and repositioned until a relation appears that feels both precarious and inevitable. Gravity becomes an active collaborator in this process: once an object is placed, its consequences are real, and stability is never entirely guaranteed.

Images: Jose Dávila, Fundamental Concern, 2026, concrete, travertine marble and rocks
97 5/8 x 25 1/2 x 25 5/8 inches Photo: Agustín Arce © Jose Dávila Courtesy: the artist and Sean Kelly, New York; Installation view of Jose Dávila: The Simple Act of Positioning at Sean Kelly, New York, April 17 – May 30, 2026, Photography: Jason Wyche, Courtesy: Sean Kelly, New York

@josedavila #JoseDávila #SeanKellyNY

“Stacking, elevating, interrupting, or misaligning are gestures that point simultaneously to archaic forms of construction and to contemporary ways of structuring meaning.” - Jose Dávila

In the twentieth century, artists including Marcel Duchamp and Jannis Kounellis further demonstrated how meaning can emerge through acts of selection and placement. Duchamp’s readymades revealed that repositioning an object could radically shift its significance, while Kounellis explored how materials such as coal, steel, or burlap acquire historical and symbolic weight when placed within carefully constructed contexts.

Dávila continues this dialogue whilst foregrounding it in the physical realities of weight and gravity. In the studio, materials are moved, rotated, stacked, and repositioned until a relation appears that feels both precarious and inevitable. Gravity becomes an active collaborator in this process: once an object is placed, its consequences are real, and stability is never entirely guaranteed.

Images: Jose Dávila, Fundamental Concern, 2026, concrete, travertine marble and rocks
97 5/8 x 25 1/2 x 25 5/8 inches Photo: Agustín Arce © Jose Dávila Courtesy: the artist and Sean Kelly, New York; Installation view of Jose Dávila: The Simple Act of Positioning at Sean Kelly, New York, April 17 – May 30, 2026, Photography: Jason Wyche, Courtesy: Sean Kelly, New York

@josedavila #JoseDávila #SeanKellyNY

At Museo Correr, two visions of time collide: with neoclassical sculptures seeking to immortalize the human form in stone, and the turning tide of Spiral Economy’ revealing the limits of our boundless consumerism of both natural and unnatural resources.

It plays on the concept of cabinets of curiosity—the Wunderkammer—traditionally used to display conquered and collected objects, driven by Western narratives of exploration and power.

In this exhibition, that perspective is challenged by the circular, metabolic logic of the Earth. By placing ancient ammonites inside the spiraling coils of a vending machine, the work critiques the illusion of infinite resources, collapsing deep geological time into the instant gratification of modern trade.

Video: Julian Charrière, Installation view, Spiral Economy: Charrière and Canova, Museo Correr, Venice, Italy, 2026 © The Artist / VG Bild-Kunst, Bonn, 2026 Courtesy of The Artist, Sean Kelly, OMR, Galerie Tschudi, Dittrich & Schlechtriem, Sies+Höke Video by Artbeats

@julian.charriere #JulianCharrière @visitmuve artbeatsberlin #visitMUVE

In the exhibition Kairos Resounding, Laurent Grasso explores kairos through epistemic ruptures, developing alternative knowledge systems where ancestral wisdom gains new relevance and speculative tools connect the present with the past. The exhibition is on view through August 30, 2026 at 798CUBE in Beijing, China.

Grasso’s video works OttO, 2018, and ARTIFICIALIS, 2021, challenge scientific certainties and envision a future where inherited knowledge informs emerging technologies. Grasso constructs a cosmology that suspends perception, challenging how we perceive the world, presenting time as a complex mix of ancient and modern forms of knowledge.

The exhibition invites viewers to reflect upon the vastness of time, connecting deep historical roots with urgent contemporary issues. It addresses ecological challenges placing viewers in a reflective space that bridges the past and the future. Rather than providing closure, the exhibition creates a sense of urgency and accountability in the present moment. Kairos Resounding asks viewers to engage with global concerns, emphasizing the complex reality of the contemporary world alongside one that has been lost.

Images: Laurent Grasso, installation view, Kairos Resounding: Julian Charrière & Laurent Grasso, 798CUBE, 2026. © Laurent Grasso, ADAGP, Paris (2026)

@laurentgrasso @798cube #LaurentGrasso

In the exhibition Kairos Resounding, Laurent Grasso explores kairos through epistemic ruptures, developing alternative knowledge systems where ancestral wisdom gains new relevance and speculative tools connect the present with the past. The exhibition is on view through August 30, 2026 at 798CUBE in Beijing, China.

Grasso’s video works OttO, 2018, and ARTIFICIALIS, 2021, challenge scientific certainties and envision a future where inherited knowledge informs emerging technologies. Grasso constructs a cosmology that suspends perception, challenging how we perceive the world, presenting time as a complex mix of ancient and modern forms of knowledge.

The exhibition invites viewers to reflect upon the vastness of time, connecting deep historical roots with urgent contemporary issues. It addresses ecological challenges placing viewers in a reflective space that bridges the past and the future. Rather than providing closure, the exhibition creates a sense of urgency and accountability in the present moment. Kairos Resounding asks viewers to engage with global concerns, emphasizing the complex reality of the contemporary world alongside one that has been lost.

Images: Laurent Grasso, installation view, Kairos Resounding: Julian Charrière & Laurent Grasso, 798CUBE, 2026. © Laurent Grasso, ADAGP, Paris (2026)

@laurentgrasso @798cube #LaurentGrasso

In the exhibition Kairos Resounding, Laurent Grasso explores kairos through epistemic ruptures, developing alternative knowledge systems where ancestral wisdom gains new relevance and speculative tools connect the present with the past. The exhibition is on view through August 30, 2026 at 798CUBE in Beijing, China.

Grasso’s video works OttO, 2018, and ARTIFICIALIS, 2021, challenge scientific certainties and envision a future where inherited knowledge informs emerging technologies. Grasso constructs a cosmology that suspends perception, challenging how we perceive the world, presenting time as a complex mix of ancient and modern forms of knowledge.

The exhibition invites viewers to reflect upon the vastness of time, connecting deep historical roots with urgent contemporary issues. It addresses ecological challenges placing viewers in a reflective space that bridges the past and the future. Rather than providing closure, the exhibition creates a sense of urgency and accountability in the present moment. Kairos Resounding asks viewers to engage with global concerns, emphasizing the complex reality of the contemporary world alongside one that has been lost.

Images: Laurent Grasso, installation view, Kairos Resounding: Julian Charrière & Laurent Grasso, 798CUBE, 2026. © Laurent Grasso, ADAGP, Paris (2026)

@laurentgrasso @798cube #LaurentGrasso

In the exhibition Kairos Resounding, Laurent Grasso explores kairos through epistemic ruptures, developing alternative knowledge systems where ancestral wisdom gains new relevance and speculative tools connect the present with the past. The exhibition is on view through August 30, 2026 at 798CUBE in Beijing, China.

Grasso’s video works OttO, 2018, and ARTIFICIALIS, 2021, challenge scientific certainties and envision a future where inherited knowledge informs emerging technologies. Grasso constructs a cosmology that suspends perception, challenging how we perceive the world, presenting time as a complex mix of ancient and modern forms of knowledge.

The exhibition invites viewers to reflect upon the vastness of time, connecting deep historical roots with urgent contemporary issues. It addresses ecological challenges placing viewers in a reflective space that bridges the past and the future. Rather than providing closure, the exhibition creates a sense of urgency and accountability in the present moment. Kairos Resounding asks viewers to engage with global concerns, emphasizing the complex reality of the contemporary world alongside one that has been lost.

Images: Laurent Grasso, installation view, Kairos Resounding: Julian Charrière & Laurent Grasso, 798CUBE, 2026. © Laurent Grasso, ADAGP, Paris (2026)

@laurentgrasso @798cube #LaurentGrasso

In the exhibition Kairos Resounding, Laurent Grasso explores kairos through epistemic ruptures, developing alternative knowledge systems where ancestral wisdom gains new relevance and speculative tools connect the present with the past. The exhibition is on view through August 30, 2026 at 798CUBE in Beijing, China.

Grasso’s video works OttO, 2018, and ARTIFICIALIS, 2021, challenge scientific certainties and envision a future where inherited knowledge informs emerging technologies. Grasso constructs a cosmology that suspends perception, challenging how we perceive the world, presenting time as a complex mix of ancient and modern forms of knowledge.

The exhibition invites viewers to reflect upon the vastness of time, connecting deep historical roots with urgent contemporary issues. It addresses ecological challenges placing viewers in a reflective space that bridges the past and the future. Rather than providing closure, the exhibition creates a sense of urgency and accountability in the present moment. Kairos Resounding asks viewers to engage with global concerns, emphasizing the complex reality of the contemporary world alongside one that has been lost.

Images: Laurent Grasso, installation view, Kairos Resounding: Julian Charrière & Laurent Grasso, 798CUBE, 2026. © Laurent Grasso, ADAGP, Paris (2026)

@laurentgrasso @798cube #LaurentGrasso

In the exhibition Kairos Resounding, Laurent Grasso explores kairos through epistemic ruptures, developing alternative knowledge systems where ancestral wisdom gains new relevance and speculative tools connect the present with the past. The exhibition is on view through August 30, 2026 at 798CUBE in Beijing, China.

Grasso’s video works OttO, 2018, and ARTIFICIALIS, 2021, challenge scientific certainties and envision a future where inherited knowledge informs emerging technologies. Grasso constructs a cosmology that suspends perception, challenging how we perceive the world, presenting time as a complex mix of ancient and modern forms of knowledge.

The exhibition invites viewers to reflect upon the vastness of time, connecting deep historical roots with urgent contemporary issues. It addresses ecological challenges placing viewers in a reflective space that bridges the past and the future. Rather than providing closure, the exhibition creates a sense of urgency and accountability in the present moment. Kairos Resounding asks viewers to engage with global concerns, emphasizing the complex reality of the contemporary world alongside one that has been lost.

Images: Laurent Grasso, installation view, Kairos Resounding: Julian Charrière & Laurent Grasso, 798CUBE, 2026. © Laurent Grasso, ADAGP, Paris (2026)

@laurentgrasso @798cube #LaurentGrasso

In the exhibition Kairos Resounding, Laurent Grasso explores kairos through epistemic ruptures, developing alternative knowledge systems where ancestral wisdom gains new relevance and speculative tools connect the present with the past. The exhibition is on view through August 30, 2026 at 798CUBE in Beijing, China.

Grasso’s video works OttO, 2018, and ARTIFICIALIS, 2021, challenge scientific certainties and envision a future where inherited knowledge informs emerging technologies. Grasso constructs a cosmology that suspends perception, challenging how we perceive the world, presenting time as a complex mix of ancient and modern forms of knowledge.

The exhibition invites viewers to reflect upon the vastness of time, connecting deep historical roots with urgent contemporary issues. It addresses ecological challenges placing viewers in a reflective space that bridges the past and the future. Rather than providing closure, the exhibition creates a sense of urgency and accountability in the present moment. Kairos Resounding asks viewers to engage with global concerns, emphasizing the complex reality of the contemporary world alongside one that has been lost.

Images: Laurent Grasso, installation view, Kairos Resounding: Julian Charrière & Laurent Grasso, 798CUBE, 2026. © Laurent Grasso, ADAGP, Paris (2026)

@laurentgrasso @798cube #LaurentGrasso

In the exhibition Kairos Resounding, Laurent Grasso explores kairos through epistemic ruptures, developing alternative knowledge systems where ancestral wisdom gains new relevance and speculative tools connect the present with the past. The exhibition is on view through August 30, 2026 at 798CUBE in Beijing, China.

Grasso’s video works OttO, 2018, and ARTIFICIALIS, 2021, challenge scientific certainties and envision a future where inherited knowledge informs emerging technologies. Grasso constructs a cosmology that suspends perception, challenging how we perceive the world, presenting time as a complex mix of ancient and modern forms of knowledge.

The exhibition invites viewers to reflect upon the vastness of time, connecting deep historical roots with urgent contemporary issues. It addresses ecological challenges placing viewers in a reflective space that bridges the past and the future. Rather than providing closure, the exhibition creates a sense of urgency and accountability in the present moment. Kairos Resounding asks viewers to engage with global concerns, emphasizing the complex reality of the contemporary world alongside one that has been lost.

Images: Laurent Grasso, installation view, Kairos Resounding: Julian Charrière & Laurent Grasso, 798CUBE, 2026. © Laurent Grasso, ADAGP, Paris (2026)

@laurentgrasso @798cube #LaurentGrasso

In the exhibition Kairos Resounding, Laurent Grasso explores kairos through epistemic ruptures, developing alternative knowledge systems where ancestral wisdom gains new relevance and speculative tools connect the present with the past. The exhibition is on view through August 30, 2026 at 798CUBE in Beijing, China.

Grasso’s video works OttO, 2018, and ARTIFICIALIS, 2021, challenge scientific certainties and envision a future where inherited knowledge informs emerging technologies. Grasso constructs a cosmology that suspends perception, challenging how we perceive the world, presenting time as a complex mix of ancient and modern forms of knowledge.

The exhibition invites viewers to reflect upon the vastness of time, connecting deep historical roots with urgent contemporary issues. It addresses ecological challenges placing viewers in a reflective space that bridges the past and the future. Rather than providing closure, the exhibition creates a sense of urgency and accountability in the present moment. Kairos Resounding asks viewers to engage with global concerns, emphasizing the complex reality of the contemporary world alongside one that has been lost.

Images: Laurent Grasso, installation view, Kairos Resounding: Julian Charrière & Laurent Grasso, 798CUBE, 2026. © Laurent Grasso, ADAGP, Paris (2026)

@laurentgrasso @798cube #LaurentGrasso

In the exhibition Kairos Resounding, Laurent Grasso explores kairos through epistemic ruptures, developing alternative knowledge systems where ancestral wisdom gains new relevance and speculative tools connect the present with the past. The exhibition is on view through August 30, 2026 at 798CUBE in Beijing, China.

Grasso’s video works OttO, 2018, and ARTIFICIALIS, 2021, challenge scientific certainties and envision a future where inherited knowledge informs emerging technologies. Grasso constructs a cosmology that suspends perception, challenging how we perceive the world, presenting time as a complex mix of ancient and modern forms of knowledge.

The exhibition invites viewers to reflect upon the vastness of time, connecting deep historical roots with urgent contemporary issues. It addresses ecological challenges placing viewers in a reflective space that bridges the past and the future. Rather than providing closure, the exhibition creates a sense of urgency and accountability in the present moment. Kairos Resounding asks viewers to engage with global concerns, emphasizing the complex reality of the contemporary world alongside one that has been lost.

Images: Laurent Grasso, installation view, Kairos Resounding: Julian Charrière & Laurent Grasso, 798CUBE, 2026. © Laurent Grasso, ADAGP, Paris (2026)

@laurentgrasso @798cube #LaurentGrasso

Joseph Kosuth’s The-exchange-value-of-language-has-fallen-to-zero is on view until November 22, 2026, at the Casa dei Tre Oci, in Venice.

The exhibition spans over fifty years of Kosuth’s oeuvre, bringing together historical works and a new installation that examines how meaning is shaped by the context in which it appears, revealing language as never neutral, but always influenced by its environment and reception. Kosuth has a long-standing connection with Venice, having lived and worked there since 2021, though his ties to the city date back several decades.

Created specifically for Casa dei Tre Oci, and presented in the main entrance of the exhibition space is A Chain of Resemblance, 2026, a new large-scale neon installation based on a text by Michel Foucault. The work addresses how meaning takes shape in the relationship between text and context, highlighting how language is influenced by the environment in which it appears and ways in which it is received.

Early works including One and Three Mirrors, 1965, in which the ordinary function of the mirror is redefined in a representational and conceptual sense, focusing on the mechanisms through which language contributes to the construction of identity. The exhibition also includes seminal works including The Fifth Investigation, 1969 and Text/Context, 1978–1979, which investigate themes of authorship and the relationship between language and context.

Image: Installation view of Marina Abramović: Transforming Energy at Berggruen Institute Europe, Casa dei Tre Oci, Venice, May 6 – October 19, 2026 Photo: Marco Cappelletti © Joseph Kosuth / Artists Rights Society (ARS), New York 2025 Courtesy: the artist and Sean Kelly, New York

@josephkosuthstudio @berggruendiedo @casadeitreoci #JosephKosuth

Joseph Kosuth’s The-exchange-value-of-language-has-fallen-to-zero is on view until November 22, 2026, at the Casa dei Tre Oci, in Venice.

The exhibition spans over fifty years of Kosuth’s oeuvre, bringing together historical works and a new installation that examines how meaning is shaped by the context in which it appears, revealing language as never neutral, but always influenced by its environment and reception. Kosuth has a long-standing connection with Venice, having lived and worked there since 2021, though his ties to the city date back several decades.

Created specifically for Casa dei Tre Oci, and presented in the main entrance of the exhibition space is A Chain of Resemblance, 2026, a new large-scale neon installation based on a text by Michel Foucault. The work addresses how meaning takes shape in the relationship between text and context, highlighting how language is influenced by the environment in which it appears and ways in which it is received.

Early works including One and Three Mirrors, 1965, in which the ordinary function of the mirror is redefined in a representational and conceptual sense, focusing on the mechanisms through which language contributes to the construction of identity. The exhibition also includes seminal works including The Fifth Investigation, 1969 and Text/Context, 1978–1979, which investigate themes of authorship and the relationship between language and context.

Image: Installation view of Marina Abramović: Transforming Energy at Berggruen Institute Europe, Casa dei Tre Oci, Venice, May 6 – October 19, 2026 Photo: Marco Cappelletti © Joseph Kosuth / Artists Rights Society (ARS), New York 2025 Courtesy: the artist and Sean Kelly, New York

@josephkosuthstudio @berggruendiedo @casadeitreoci #JosephKosuth

Joseph Kosuth’s The-exchange-value-of-language-has-fallen-to-zero is on view until November 22, 2026, at the Casa dei Tre Oci, in Venice.

The exhibition spans over fifty years of Kosuth’s oeuvre, bringing together historical works and a new installation that examines how meaning is shaped by the context in which it appears, revealing language as never neutral, but always influenced by its environment and reception. Kosuth has a long-standing connection with Venice, having lived and worked there since 2021, though his ties to the city date back several decades.

Created specifically for Casa dei Tre Oci, and presented in the main entrance of the exhibition space is A Chain of Resemblance, 2026, a new large-scale neon installation based on a text by Michel Foucault. The work addresses how meaning takes shape in the relationship between text and context, highlighting how language is influenced by the environment in which it appears and ways in which it is received.

Early works including One and Three Mirrors, 1965, in which the ordinary function of the mirror is redefined in a representational and conceptual sense, focusing on the mechanisms through which language contributes to the construction of identity. The exhibition also includes seminal works including The Fifth Investigation, 1969 and Text/Context, 1978–1979, which investigate themes of authorship and the relationship between language and context.

Image: Installation view of Marina Abramović: Transforming Energy at Berggruen Institute Europe, Casa dei Tre Oci, Venice, May 6 – October 19, 2026 Photo: Marco Cappelletti © Joseph Kosuth / Artists Rights Society (ARS), New York 2025 Courtesy: the artist and Sean Kelly, New York

@josephkosuthstudio @berggruendiedo @casadeitreoci #JosephKosuth

Joseph Kosuth’s The-exchange-value-of-language-has-fallen-to-zero is on view until November 22, 2026, at the Casa dei Tre Oci, in Venice.

The exhibition spans over fifty years of Kosuth’s oeuvre, bringing together historical works and a new installation that examines how meaning is shaped by the context in which it appears, revealing language as never neutral, but always influenced by its environment and reception. Kosuth has a long-standing connection with Venice, having lived and worked there since 2021, though his ties to the city date back several decades.

Created specifically for Casa dei Tre Oci, and presented in the main entrance of the exhibition space is A Chain of Resemblance, 2026, a new large-scale neon installation based on a text by Michel Foucault. The work addresses how meaning takes shape in the relationship between text and context, highlighting how language is influenced by the environment in which it appears and ways in which it is received.

Early works including One and Three Mirrors, 1965, in which the ordinary function of the mirror is redefined in a representational and conceptual sense, focusing on the mechanisms through which language contributes to the construction of identity. The exhibition also includes seminal works including The Fifth Investigation, 1969 and Text/Context, 1978–1979, which investigate themes of authorship and the relationship between language and context.

Image: Installation view of Marina Abramović: Transforming Energy at Berggruen Institute Europe, Casa dei Tre Oci, Venice, May 6 – October 19, 2026 Photo: Marco Cappelletti © Joseph Kosuth / Artists Rights Society (ARS), New York 2025 Courtesy: the artist and Sean Kelly, New York

@josephkosuthstudio @berggruendiedo @casadeitreoci #JosephKosuth

Joseph Kosuth’s The-exchange-value-of-language-has-fallen-to-zero is on view until November 22, 2026, at the Casa dei Tre Oci, in Venice.

The exhibition spans over fifty years of Kosuth’s oeuvre, bringing together historical works and a new installation that examines how meaning is shaped by the context in which it appears, revealing language as never neutral, but always influenced by its environment and reception. Kosuth has a long-standing connection with Venice, having lived and worked there since 2021, though his ties to the city date back several decades.

Created specifically for Casa dei Tre Oci, and presented in the main entrance of the exhibition space is A Chain of Resemblance, 2026, a new large-scale neon installation based on a text by Michel Foucault. The work addresses how meaning takes shape in the relationship between text and context, highlighting how language is influenced by the environment in which it appears and ways in which it is received.

Early works including One and Three Mirrors, 1965, in which the ordinary function of the mirror is redefined in a representational and conceptual sense, focusing on the mechanisms through which language contributes to the construction of identity. The exhibition also includes seminal works including The Fifth Investigation, 1969 and Text/Context, 1978–1979, which investigate themes of authorship and the relationship between language and context.

Image: Installation view of Marina Abramović: Transforming Energy at Berggruen Institute Europe, Casa dei Tre Oci, Venice, May 6 – October 19, 2026 Photo: Marco Cappelletti © Joseph Kosuth / Artists Rights Society (ARS), New York 2025 Courtesy: the artist and Sean Kelly, New York

@josephkosuthstudio @berggruendiedo @casadeitreoci #JosephKosuth

Joseph Kosuth’s The-exchange-value-of-language-has-fallen-to-zero is on view until November 22, 2026, at the Casa dei Tre Oci, in Venice.

The exhibition spans over fifty years of Kosuth’s oeuvre, bringing together historical works and a new installation that examines how meaning is shaped by the context in which it appears, revealing language as never neutral, but always influenced by its environment and reception. Kosuth has a long-standing connection with Venice, having lived and worked there since 2021, though his ties to the city date back several decades.

Created specifically for Casa dei Tre Oci, and presented in the main entrance of the exhibition space is A Chain of Resemblance, 2026, a new large-scale neon installation based on a text by Michel Foucault. The work addresses how meaning takes shape in the relationship between text and context, highlighting how language is influenced by the environment in which it appears and ways in which it is received.

Early works including One and Three Mirrors, 1965, in which the ordinary function of the mirror is redefined in a representational and conceptual sense, focusing on the mechanisms through which language contributes to the construction of identity. The exhibition also includes seminal works including The Fifth Investigation, 1969 and Text/Context, 1978–1979, which investigate themes of authorship and the relationship between language and context.

Image: Installation view of Marina Abramović: Transforming Energy at Berggruen Institute Europe, Casa dei Tre Oci, Venice, May 6 – October 19, 2026 Photo: Marco Cappelletti © Joseph Kosuth / Artists Rights Society (ARS), New York 2025 Courtesy: the artist and Sean Kelly, New York

@josephkosuthstudio @berggruendiedo @casadeitreoci #JosephKosuth

Joseph Kosuth’s The-exchange-value-of-language-has-fallen-to-zero is on view until November 22, 2026, at the Casa dei Tre Oci, in Venice.

The exhibition spans over fifty years of Kosuth’s oeuvre, bringing together historical works and a new installation that examines how meaning is shaped by the context in which it appears, revealing language as never neutral, but always influenced by its environment and reception. Kosuth has a long-standing connection with Venice, having lived and worked there since 2021, though his ties to the city date back several decades.

Created specifically for Casa dei Tre Oci, and presented in the main entrance of the exhibition space is A Chain of Resemblance, 2026, a new large-scale neon installation based on a text by Michel Foucault. The work addresses how meaning takes shape in the relationship between text and context, highlighting how language is influenced by the environment in which it appears and ways in which it is received.

Early works including One and Three Mirrors, 1965, in which the ordinary function of the mirror is redefined in a representational and conceptual sense, focusing on the mechanisms through which language contributes to the construction of identity. The exhibition also includes seminal works including The Fifth Investigation, 1969 and Text/Context, 1978–1979, which investigate themes of authorship and the relationship between language and context.

Image: Installation view of Marina Abramović: Transforming Energy at Berggruen Institute Europe, Casa dei Tre Oci, Venice, May 6 – October 19, 2026 Photo: Marco Cappelletti © Joseph Kosuth / Artists Rights Society (ARS), New York 2025 Courtesy: the artist and Sean Kelly, New York

@josephkosuthstudio @berggruendiedo @casadeitreoci #JosephKosuth

Joseph Kosuth’s The-exchange-value-of-language-has-fallen-to-zero is on view until November 22, 2026, at the Casa dei Tre Oci, in Venice.

The exhibition spans over fifty years of Kosuth’s oeuvre, bringing together historical works and a new installation that examines how meaning is shaped by the context in which it appears, revealing language as never neutral, but always influenced by its environment and reception. Kosuth has a long-standing connection with Venice, having lived and worked there since 2021, though his ties to the city date back several decades.

Created specifically for Casa dei Tre Oci, and presented in the main entrance of the exhibition space is A Chain of Resemblance, 2026, a new large-scale neon installation based on a text by Michel Foucault. The work addresses how meaning takes shape in the relationship between text and context, highlighting how language is influenced by the environment in which it appears and ways in which it is received.

Early works including One and Three Mirrors, 1965, in which the ordinary function of the mirror is redefined in a representational and conceptual sense, focusing on the mechanisms through which language contributes to the construction of identity. The exhibition also includes seminal works including The Fifth Investigation, 1969 and Text/Context, 1978–1979, which investigate themes of authorship and the relationship between language and context.

Image: Installation view of Marina Abramović: Transforming Energy at Berggruen Institute Europe, Casa dei Tre Oci, Venice, May 6 – October 19, 2026 Photo: Marco Cappelletti © Joseph Kosuth / Artists Rights Society (ARS), New York 2025 Courtesy: the artist and Sean Kelly, New York

@josephkosuthstudio @berggruendiedo @casadeitreoci #JosephKosuth

Joseph Kosuth’s The-exchange-value-of-language-has-fallen-to-zero is on view until November 22, 2026, at the Casa dei Tre Oci, in Venice.

The exhibition spans over fifty years of Kosuth’s oeuvre, bringing together historical works and a new installation that examines how meaning is shaped by the context in which it appears, revealing language as never neutral, but always influenced by its environment and reception. Kosuth has a long-standing connection with Venice, having lived and worked there since 2021, though his ties to the city date back several decades.

Created specifically for Casa dei Tre Oci, and presented in the main entrance of the exhibition space is A Chain of Resemblance, 2026, a new large-scale neon installation based on a text by Michel Foucault. The work addresses how meaning takes shape in the relationship between text and context, highlighting how language is influenced by the environment in which it appears and ways in which it is received.

Early works including One and Three Mirrors, 1965, in which the ordinary function of the mirror is redefined in a representational and conceptual sense, focusing on the mechanisms through which language contributes to the construction of identity. The exhibition also includes seminal works including The Fifth Investigation, 1969 and Text/Context, 1978–1979, which investigate themes of authorship and the relationship between language and context.

Image: Installation view of Marina Abramović: Transforming Energy at Berggruen Institute Europe, Casa dei Tre Oci, Venice, May 6 – October 19, 2026 Photo: Marco Cappelletti © Joseph Kosuth / Artists Rights Society (ARS), New York 2025 Courtesy: the artist and Sean Kelly, New York

@josephkosuthstudio @berggruendiedo @casadeitreoci #JosephKosuth

“It’s really important that the public is not just a silent witness.” - Marina Abramović

Marina Abramović: Transforming Energy is on view now through October 19, 2026 at the Gallerie dell’Accademia in Venice, coincides with the 61st International Art Exhibition – La Biennale di Venezia.Abramović is the first living female artist to be honored with a major exhibition at the Gallerie dell’Accademia.

Celebrating Abramović’s 80th birthday, the exhibition establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped Venice’s cultural identity. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) in Shanghai, in close collaboration with the artist, Transforming Energy represents a historic first by integrating Abramović’s work within both the permanent and temporary exhibition spaces, positioning her work at the heart of Venice’s rich heritage.

Transforming Energy exists at the intersection between past and present, material and immaterial, as well as body and spirit through themes of resistance, vulnerability, and transformation.

Image: Installation view of Marina Abramović: Transforming Energy at Gallerie dell’Accademia, Venice, May 6 – October 19, 2026 Photo: Matteo de Fina © Marina Abramović Courtesy: the Marina Abramović Archives and Sean Kelly, New York

@abramovicinstitute @gallerieaccademiavenezia @mic_italia @museitaliani #galleriedellaccademia #marinaabramović #transformingenergy

“It’s really important that the public is not just a silent witness.” - Marina Abramović

Marina Abramović: Transforming Energy is on view now through October 19, 2026 at the Gallerie dell’Accademia in Venice, coincides with the 61st International Art Exhibition – La Biennale di Venezia.Abramović is the first living female artist to be honored with a major exhibition at the Gallerie dell’Accademia.

Celebrating Abramović’s 80th birthday, the exhibition establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped Venice’s cultural identity. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) in Shanghai, in close collaboration with the artist, Transforming Energy represents a historic first by integrating Abramović’s work within both the permanent and temporary exhibition spaces, positioning her work at the heart of Venice’s rich heritage.

Transforming Energy exists at the intersection between past and present, material and immaterial, as well as body and spirit through themes of resistance, vulnerability, and transformation.

Image: Installation view of Marina Abramović: Transforming Energy at Gallerie dell’Accademia, Venice, May 6 – October 19, 2026 Photo: Matteo de Fina © Marina Abramović Courtesy: the Marina Abramović Archives and Sean Kelly, New York

@abramovicinstitute @gallerieaccademiavenezia @mic_italia @museitaliani #galleriedellaccademia #marinaabramović #transformingenergy

“It’s really important that the public is not just a silent witness.” - Marina Abramović

Marina Abramović: Transforming Energy is on view now through October 19, 2026 at the Gallerie dell’Accademia in Venice, coincides with the 61st International Art Exhibition – La Biennale di Venezia.Abramović is the first living female artist to be honored with a major exhibition at the Gallerie dell’Accademia.

Celebrating Abramović’s 80th birthday, the exhibition establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped Venice’s cultural identity. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) in Shanghai, in close collaboration with the artist, Transforming Energy represents a historic first by integrating Abramović’s work within both the permanent and temporary exhibition spaces, positioning her work at the heart of Venice’s rich heritage.

Transforming Energy exists at the intersection between past and present, material and immaterial, as well as body and spirit through themes of resistance, vulnerability, and transformation.

Image: Installation view of Marina Abramović: Transforming Energy at Gallerie dell’Accademia, Venice, May 6 – October 19, 2026 Photo: Matteo de Fina © Marina Abramović Courtesy: the Marina Abramović Archives and Sean Kelly, New York

@abramovicinstitute @gallerieaccademiavenezia @mic_italia @museitaliani #galleriedellaccademia #marinaabramović #transformingenergy

“It’s really important that the public is not just a silent witness.” - Marina Abramović

Marina Abramović: Transforming Energy is on view now through October 19, 2026 at the Gallerie dell’Accademia in Venice, coincides with the 61st International Art Exhibition – La Biennale di Venezia.Abramović is the first living female artist to be honored with a major exhibition at the Gallerie dell’Accademia.

Celebrating Abramović’s 80th birthday, the exhibition establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped Venice’s cultural identity. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) in Shanghai, in close collaboration with the artist, Transforming Energy represents a historic first by integrating Abramović’s work within both the permanent and temporary exhibition spaces, positioning her work at the heart of Venice’s rich heritage.

Transforming Energy exists at the intersection between past and present, material and immaterial, as well as body and spirit through themes of resistance, vulnerability, and transformation.

Image: Installation view of Marina Abramović: Transforming Energy at Gallerie dell’Accademia, Venice, May 6 – October 19, 2026 Photo: Matteo de Fina © Marina Abramović Courtesy: the Marina Abramović Archives and Sean Kelly, New York

@abramovicinstitute @gallerieaccademiavenezia @mic_italia @museitaliani #galleriedellaccademia #marinaabramović #transformingenergy

“It’s really important that the public is not just a silent witness.” - Marina Abramović

Marina Abramović: Transforming Energy is on view now through October 19, 2026 at the Gallerie dell’Accademia in Venice, coincides with the 61st International Art Exhibition – La Biennale di Venezia.Abramović is the first living female artist to be honored with a major exhibition at the Gallerie dell’Accademia.

Celebrating Abramović’s 80th birthday, the exhibition establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped Venice’s cultural identity. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) in Shanghai, in close collaboration with the artist, Transforming Energy represents a historic first by integrating Abramović’s work within both the permanent and temporary exhibition spaces, positioning her work at the heart of Venice’s rich heritage.

Transforming Energy exists at the intersection between past and present, material and immaterial, as well as body and spirit through themes of resistance, vulnerability, and transformation.

Image: Installation view of Marina Abramović: Transforming Energy at Gallerie dell’Accademia, Venice, May 6 – October 19, 2026 Photo: Matteo de Fina © Marina Abramović Courtesy: the Marina Abramović Archives and Sean Kelly, New York

@abramovicinstitute @gallerieaccademiavenezia @mic_italia @museitaliani #galleriedellaccademia #marinaabramović #transformingenergy

“It’s really important that the public is not just a silent witness.” - Marina Abramović

Marina Abramović: Transforming Energy is on view now through October 19, 2026 at the Gallerie dell’Accademia in Venice, coincides with the 61st International Art Exhibition – La Biennale di Venezia.Abramović is the first living female artist to be honored with a major exhibition at the Gallerie dell’Accademia.

Celebrating Abramović’s 80th birthday, the exhibition establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped Venice’s cultural identity. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) in Shanghai, in close collaboration with the artist, Transforming Energy represents a historic first by integrating Abramović’s work within both the permanent and temporary exhibition spaces, positioning her work at the heart of Venice’s rich heritage.

Transforming Energy exists at the intersection between past and present, material and immaterial, as well as body and spirit through themes of resistance, vulnerability, and transformation.

Image: Installation view of Marina Abramović: Transforming Energy at Gallerie dell’Accademia, Venice, May 6 – October 19, 2026 Photo: Matteo de Fina © Marina Abramović Courtesy: the Marina Abramović Archives and Sean Kelly, New York

@abramovicinstitute @gallerieaccademiavenezia @mic_italia @museitaliani #galleriedellaccademia #marinaabramović #transformingenergy

“It’s really important that the public is not just a silent witness.” - Marina Abramović

Marina Abramović: Transforming Energy is on view now through October 19, 2026 at the Gallerie dell’Accademia in Venice, coincides with the 61st International Art Exhibition – La Biennale di Venezia.Abramović is the first living female artist to be honored with a major exhibition at the Gallerie dell’Accademia.

Celebrating Abramović’s 80th birthday, the exhibition establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped Venice’s cultural identity. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) in Shanghai, in close collaboration with the artist, Transforming Energy represents a historic first by integrating Abramović’s work within both the permanent and temporary exhibition spaces, positioning her work at the heart of Venice’s rich heritage.

Transforming Energy exists at the intersection between past and present, material and immaterial, as well as body and spirit through themes of resistance, vulnerability, and transformation.

Image: Installation view of Marina Abramović: Transforming Energy at Gallerie dell’Accademia, Venice, May 6 – October 19, 2026 Photo: Matteo de Fina © Marina Abramović Courtesy: the Marina Abramović Archives and Sean Kelly, New York

@abramovicinstitute @gallerieaccademiavenezia @mic_italia @museitaliani #galleriedellaccademia #marinaabramović #transformingenergy

“It’s really important that the public is not just a silent witness.” - Marina Abramović

Marina Abramović: Transforming Energy is on view now through October 19, 2026 at the Gallerie dell’Accademia in Venice, coincides with the 61st International Art Exhibition – La Biennale di Venezia.Abramović is the first living female artist to be honored with a major exhibition at the Gallerie dell’Accademia.

Celebrating Abramović’s 80th birthday, the exhibition establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped Venice’s cultural identity. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) in Shanghai, in close collaboration with the artist, Transforming Energy represents a historic first by integrating Abramović’s work within both the permanent and temporary exhibition spaces, positioning her work at the heart of Venice’s rich heritage.

Transforming Energy exists at the intersection between past and present, material and immaterial, as well as body and spirit through themes of resistance, vulnerability, and transformation.

Image: Installation view of Marina Abramović: Transforming Energy at Gallerie dell’Accademia, Venice, May 6 – October 19, 2026 Photo: Matteo de Fina © Marina Abramović Courtesy: the Marina Abramović Archives and Sean Kelly, New York

@abramovicinstitute @gallerieaccademiavenezia @mic_italia @museitaliani #galleriedellaccademia #marinaabramović #transformingenergy

“It’s really important that the public is not just a silent witness.” - Marina Abramović

Marina Abramović: Transforming Energy is on view now through October 19, 2026 at the Gallerie dell’Accademia in Venice, coincides with the 61st International Art Exhibition – La Biennale di Venezia.Abramović is the first living female artist to be honored with a major exhibition at the Gallerie dell’Accademia.

Celebrating Abramović’s 80th birthday, the exhibition establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped Venice’s cultural identity. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) in Shanghai, in close collaboration with the artist, Transforming Energy represents a historic first by integrating Abramović’s work within both the permanent and temporary exhibition spaces, positioning her work at the heart of Venice’s rich heritage.

Transforming Energy exists at the intersection between past and present, material and immaterial, as well as body and spirit through themes of resistance, vulnerability, and transformation.

Image: Installation view of Marina Abramović: Transforming Energy at Gallerie dell’Accademia, Venice, May 6 – October 19, 2026 Photo: Matteo de Fina © Marina Abramović Courtesy: the Marina Abramović Archives and Sean Kelly, New York

@abramovicinstitute @gallerieaccademiavenezia @mic_italia @museitaliani #galleriedellaccademia #marinaabramović #transformingenergy

“It’s really important that the public is not just a silent witness.” - Marina Abramović

Marina Abramović: Transforming Energy is on view now through October 19, 2026 at the Gallerie dell’Accademia in Venice, coincides with the 61st International Art Exhibition – La Biennale di Venezia.Abramović is the first living female artist to be honored with a major exhibition at the Gallerie dell’Accademia.

Celebrating Abramović’s 80th birthday, the exhibition establishes a profound dialogue between her pioneering performance art and the Renaissance masterpieces that have shaped Venice’s cultural identity. Curated by Shai Baitel, Artistic Director of the Modern Art Museum (MAM) in Shanghai, in close collaboration with the artist, Transforming Energy represents a historic first by integrating Abramović’s work within both the permanent and temporary exhibition spaces, positioning her work at the heart of Venice’s rich heritage.

Transforming Energy exists at the intersection between past and present, material and immaterial, as well as body and spirit through themes of resistance, vulnerability, and transformation.

Image: Installation view of Marina Abramović: Transforming Energy at Gallerie dell’Accademia, Venice, May 6 – October 19, 2026 Photo: Matteo de Fina © Marina Abramović Courtesy: the Marina Abramović Archives and Sean Kelly, New York

@abramovicinstitute @gallerieaccademiavenezia @mic_italia @museitaliani #galleriedellaccademia #marinaabramović #transformingenergy

Today’s we are looking back on “McCloud in Process - Directed by MeLo-X”, a documentary film of Hugo McCloud in his studio directed by NY-based multimedia artist and musician MeLo-X in 2015.

This film documents McCloud’s instinctive and physical approach to making art, often working on the floor, sanding, hammering, and torching his materials until a total metamorphosis takes place. Drawing inspiration from the rawness and decay of the urban landscape, we see McCloud creating rich, large-scale abstract paintings and sculptural objects by fusing unconventional industrial materials—tar, bitumen, aluminum sheeting and oxidized steel plates — with traditional pigment and woodblock printing techniques.

“McCloud in Process is a collaborative piece by Hugo and myself. I wanted to capture the beautiful elements of his process through a somewhat micro lens, creating a dynamic visual of layers that I felt meshed with how I see music as I create in my own space,” said MeLo-X. “I wanted to show the marriage of his process through my eye as a director, mixed with my ear as a composer and sound designer. As an artist, the smallest things trigger these ideas and sounds in my head. Working with Hugo and the layers in his studio really heightened this sense of sound and visual art.”

Video: Directed by MeLo-X
Music from MeLo-X’s EP, C U R A T E.

@hugomccloudstudio @meloxtra #SeanKellyGallery

“Stacking, elevating, interrupting, or misaligning are gestures that point simultaneously to archaic forms of construction and to contemporary ways of structuring meaning.” - Jose Dávila

Dávila’sapproach resonates with a long lineage within the history of sculpture. Early constructions such as the standing stones of Carnac, in France, or the stone circle of Castlerigg, in England, derived their power not from the transformation of material but from the careful placement of stones within the landscape. Through alignment and orientation, rocks became structures that helped humans situate themselves in relation to space, time, and the cosmos.

Images: Jose Dávila, Fundamental Concern, 2026, concrete, metal and automotive paint, 75 9/16 x 35 1/2 x 35 15/16 inches © Jose Dávila Courtesy: the artist and Sean Kelly, New York

@josedavila #JoseDávila #SeanKellyNY

“Stacking, elevating, interrupting, or misaligning are gestures that point simultaneously to archaic forms of construction and to contemporary ways of structuring meaning.” - Jose Dávila

Dávila’sapproach resonates with a long lineage within the history of sculpture. Early constructions such as the standing stones of Carnac, in France, or the stone circle of Castlerigg, in England, derived their power not from the transformation of material but from the careful placement of stones within the landscape. Through alignment and orientation, rocks became structures that helped humans situate themselves in relation to space, time, and the cosmos.

Images: Jose Dávila, Fundamental Concern, 2026, concrete, metal and automotive paint, 75 9/16 x 35 1/2 x 35 15/16 inches © Jose Dávila Courtesy: the artist and Sean Kelly, New York

@josedavila #JoseDávila #SeanKellyNY

“Stacking, elevating, interrupting, or misaligning are gestures that point simultaneously to archaic forms of construction and to contemporary ways of structuring meaning.” - Jose Dávila

Dávila’sapproach resonates with a long lineage within the history of sculpture. Early constructions such as the standing stones of Carnac, in France, or the stone circle of Castlerigg, in England, derived their power not from the transformation of material but from the careful placement of stones within the landscape. Through alignment and orientation, rocks became structures that helped humans situate themselves in relation to space, time, and the cosmos.

Images: Jose Dávila, Fundamental Concern, 2026, concrete, metal and automotive paint, 75 9/16 x 35 1/2 x 35 15/16 inches © Jose Dávila Courtesy: the artist and Sean Kelly, New York

@josedavila #JoseDávila #SeanKellyNY