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Now open at Museo Fortuny, Venice: Erwin Wurm, Dreamers

‘Dreamers’ presents new sculptures shown for the first time, as well as works that retrace some of Erwin Wurm’s most celebrated series. The exhibition unfolds across three floors of the Palazzo Fortuny, which, for the first half of the 20th century, was the home and atelier of Spanish fashion designer Mariano Fortuny. The ground floor will be dedicated to a solo presentation of Wurm’s sculptures, while, on the first and second floors, his work will be brought into dialogue with Fortuny’s, the light-toned, ductile aspect of Wurm’s works conveying a sculptural plasticity as they emerge from the shadows of the museum’s rich collection. ‘I find that very exciting’, says Wurm, ‘placing contemporary sculpture in such a layered, historical environment’.

Visit the exhibition at @palazzofortuny_venezia until 22 November 2026.

@erwinwurm #ErwinWurm
@visitmuve #VisitMUVE
#ThaddaeusRopac

Images: Erwin Wurm, Dreamers, installation views, Museo Fortuny, 2026. Photos: Markus Gradwohl.

Now open at Museo Fortuny, Venice: Erwin Wurm, Dreamers

‘Dreamers’ presents new sculptures shown for the first time, as well as works that retrace some of Erwin Wurm’s most celebrated series. The exhibition unfolds across three floors of the Palazzo Fortuny, which, for the first half of the 20th century, was the home and atelier of Spanish fashion designer Mariano Fortuny. The ground floor will be dedicated to a solo presentation of Wurm’s sculptures, while, on the first and second floors, his work will be brought into dialogue with Fortuny’s, the light-toned, ductile aspect of Wurm’s works conveying a sculptural plasticity as they emerge from the shadows of the museum’s rich collection. ‘I find that very exciting’, says Wurm, ‘placing contemporary sculpture in such a layered, historical environment’.

Visit the exhibition at @palazzofortuny_venezia until 22 November 2026.

@erwinwurm #ErwinWurm
@visitmuve #VisitMUVE
#ThaddaeusRopac

Images: Erwin Wurm, Dreamers, installation views, Museo Fortuny, 2026. Photos: Markus Gradwohl.

Now open at Museo Fortuny, Venice: Erwin Wurm, Dreamers

‘Dreamers’ presents new sculptures shown for the first time, as well as works that retrace some of Erwin Wurm’s most celebrated series. The exhibition unfolds across three floors of the Palazzo Fortuny, which, for the first half of the 20th century, was the home and atelier of Spanish fashion designer Mariano Fortuny. The ground floor will be dedicated to a solo presentation of Wurm’s sculptures, while, on the first and second floors, his work will be brought into dialogue with Fortuny’s, the light-toned, ductile aspect of Wurm’s works conveying a sculptural plasticity as they emerge from the shadows of the museum’s rich collection. ‘I find that very exciting’, says Wurm, ‘placing contemporary sculpture in such a layered, historical environment’.

Visit the exhibition at @palazzofortuny_venezia until 22 November 2026.

@erwinwurm #ErwinWurm
@visitmuve #VisitMUVE
#ThaddaeusRopac

Images: Erwin Wurm, Dreamers, installation views, Museo Fortuny, 2026. Photos: Markus Gradwohl.

Now open at Museo Fortuny, Venice: Erwin Wurm, Dreamers

‘Dreamers’ presents new sculptures shown for the first time, as well as works that retrace some of Erwin Wurm’s most celebrated series. The exhibition unfolds across three floors of the Palazzo Fortuny, which, for the first half of the 20th century, was the home and atelier of Spanish fashion designer Mariano Fortuny. The ground floor will be dedicated to a solo presentation of Wurm’s sculptures, while, on the first and second floors, his work will be brought into dialogue with Fortuny’s, the light-toned, ductile aspect of Wurm’s works conveying a sculptural plasticity as they emerge from the shadows of the museum’s rich collection. ‘I find that very exciting’, says Wurm, ‘placing contemporary sculpture in such a layered, historical environment’.

Visit the exhibition at @palazzofortuny_venezia until 22 November 2026.

@erwinwurm #ErwinWurm
@visitmuve #VisitMUVE
#ThaddaeusRopac

Images: Erwin Wurm, Dreamers, installation views, Museo Fortuny, 2026. Photos: Markus Gradwohl.

Now open at Museo Fortuny, Venice: Erwin Wurm, Dreamers

‘Dreamers’ presents new sculptures shown for the first time, as well as works that retrace some of Erwin Wurm’s most celebrated series. The exhibition unfolds across three floors of the Palazzo Fortuny, which, for the first half of the 20th century, was the home and atelier of Spanish fashion designer Mariano Fortuny. The ground floor will be dedicated to a solo presentation of Wurm’s sculptures, while, on the first and second floors, his work will be brought into dialogue with Fortuny’s, the light-toned, ductile aspect of Wurm’s works conveying a sculptural plasticity as they emerge from the shadows of the museum’s rich collection. ‘I find that very exciting’, says Wurm, ‘placing contemporary sculpture in such a layered, historical environment’.

Visit the exhibition at @palazzofortuny_venezia until 22 November 2026.

@erwinwurm #ErwinWurm
@visitmuve #VisitMUVE
#ThaddaeusRopac

Images: Erwin Wurm, Dreamers, installation views, Museo Fortuny, 2026. Photos: Markus Gradwohl.

Yesterday, as an inaugural ritual, the Opening Étude marked the start of SEAWORLD VENICE.

Recovered from the depths of the lagoon and brought to the Pavilion, a bell towers over its entrance: a signifier of the sacred, a marker of the passing of time, a call to gather, a warning.

The Opening Étude is realised in partnership with Thaddaeus Ropac gallery.

Florentina Holzinger - SEAWORLD VENICE @floholzinger
Curated by Nora-Swantje Almes @noralmes
Austrian Pavilion | Biennale Arte 2026

📸 @nicole_marianna_wytyczak

#BiennaleArte2026
#InMinorKeys
#florentinaholzinger
#seaworldvenice

Yesterday, as an inaugural ritual, the Opening Étude marked the start of SEAWORLD VENICE.

Recovered from the depths of the lagoon and brought to the Pavilion, a bell towers over its entrance: a signifier of the sacred, a marker of the passing of time, a call to gather, a warning.

The Opening Étude is realised in partnership with Thaddaeus Ropac gallery.

Florentina Holzinger - SEAWORLD VENICE @floholzinger
Curated by Nora-Swantje Almes @noralmes
Austrian Pavilion | Biennale Arte 2026

📸 @nicole_marianna_wytyczak

#BiennaleArte2026
#InMinorKeys
#florentinaholzinger
#seaworldvenice

Now open: ‘Our George Crompton, WORLDS and WINDOWS by Gilbert & George’ at The Gilbert & George Centre.

A moving tribute to the artists’ close friend, George Crompton, who sadly passed away in September 2025, the exhibition features the triptych ‘CROMPTON STREET' from ‘THE NEW NORMAL PICTURES’ (2020), presented publicly for the first time. Alongside this tribute, Postcard Art from ‘THE URETHRA POSTCARD ART’ (2009) and the ‘WORLDS AND WINDOWS’ (1989) – rarely exhibited and on view for the first time since 1990 – are on view in the Beam and Lower Galleries.

Also on view in the film room is Day Tripping, a film trilogy by director Iain B. MacDonald which follows the artists’ journeys from their East End studio to the Essex coastline of Southend-on-Sea.

Visit the Centre with FREE admission, Thursday–Sunday, 11AM – 17:45PM.

📍 The Gilbert & George Centre
5a Heneage Street, London, E1 5LJ (just off Brick Lane)

Images: Installation views of ‘Our George Crompton, WORLDS and WINDOWS by Gilbert & George’.

#GilbertAndGeorge #TheGilbertAndGeorgeCentre #ArtForAll

Now open: ‘Our George Crompton, WORLDS and WINDOWS by Gilbert & George’ at The Gilbert & George Centre.

A moving tribute to the artists’ close friend, George Crompton, who sadly passed away in September 2025, the exhibition features the triptych ‘CROMPTON STREET' from ‘THE NEW NORMAL PICTURES’ (2020), presented publicly for the first time. Alongside this tribute, Postcard Art from ‘THE URETHRA POSTCARD ART’ (2009) and the ‘WORLDS AND WINDOWS’ (1989) – rarely exhibited and on view for the first time since 1990 – are on view in the Beam and Lower Galleries.

Also on view in the film room is Day Tripping, a film trilogy by director Iain B. MacDonald which follows the artists’ journeys from their East End studio to the Essex coastline of Southend-on-Sea.

Visit the Centre with FREE admission, Thursday–Sunday, 11AM – 17:45PM.

📍 The Gilbert & George Centre
5a Heneage Street, London, E1 5LJ (just off Brick Lane)

Images: Installation views of ‘Our George Crompton, WORLDS and WINDOWS by Gilbert & George’.

#GilbertAndGeorge #TheGilbertAndGeorgeCentre #ArtForAll

Now open: ‘Our George Crompton, WORLDS and WINDOWS by Gilbert & George’ at The Gilbert & George Centre.

A moving tribute to the artists’ close friend, George Crompton, who sadly passed away in September 2025, the exhibition features the triptych ‘CROMPTON STREET' from ‘THE NEW NORMAL PICTURES’ (2020), presented publicly for the first time. Alongside this tribute, Postcard Art from ‘THE URETHRA POSTCARD ART’ (2009) and the ‘WORLDS AND WINDOWS’ (1989) – rarely exhibited and on view for the first time since 1990 – are on view in the Beam and Lower Galleries.

Also on view in the film room is Day Tripping, a film trilogy by director Iain B. MacDonald which follows the artists’ journeys from their East End studio to the Essex coastline of Southend-on-Sea.

Visit the Centre with FREE admission, Thursday–Sunday, 11AM – 17:45PM.

📍 The Gilbert & George Centre
5a Heneage Street, London, E1 5LJ (just off Brick Lane)

Images: Installation views of ‘Our George Crompton, WORLDS and WINDOWS by Gilbert & George’.

#GilbertAndGeorge #TheGilbertAndGeorgeCentre #ArtForAll

Now open: ‘Our George Crompton, WORLDS and WINDOWS by Gilbert & George’ at The Gilbert & George Centre.

A moving tribute to the artists’ close friend, George Crompton, who sadly passed away in September 2025, the exhibition features the triptych ‘CROMPTON STREET' from ‘THE NEW NORMAL PICTURES’ (2020), presented publicly for the first time. Alongside this tribute, Postcard Art from ‘THE URETHRA POSTCARD ART’ (2009) and the ‘WORLDS AND WINDOWS’ (1989) – rarely exhibited and on view for the first time since 1990 – are on view in the Beam and Lower Galleries.

Also on view in the film room is Day Tripping, a film trilogy by director Iain B. MacDonald which follows the artists’ journeys from their East End studio to the Essex coastline of Southend-on-Sea.

Visit the Centre with FREE admission, Thursday–Sunday, 11AM – 17:45PM.

📍 The Gilbert & George Centre
5a Heneage Street, London, E1 5LJ (just off Brick Lane)

Images: Installation views of ‘Our George Crompton, WORLDS and WINDOWS by Gilbert & George’.

#GilbertAndGeorge #TheGilbertAndGeorgeCentre #ArtForAll

Now open: ‘Our George Crompton, WORLDS and WINDOWS by Gilbert & George’ at The Gilbert & George Centre.

A moving tribute to the artists’ close friend, George Crompton, who sadly passed away in September 2025, the exhibition features the triptych ‘CROMPTON STREET' from ‘THE NEW NORMAL PICTURES’ (2020), presented publicly for the first time. Alongside this tribute, Postcard Art from ‘THE URETHRA POSTCARD ART’ (2009) and the ‘WORLDS AND WINDOWS’ (1989) – rarely exhibited and on view for the first time since 1990 – are on view in the Beam and Lower Galleries.

Also on view in the film room is Day Tripping, a film trilogy by director Iain B. MacDonald which follows the artists’ journeys from their East End studio to the Essex coastline of Southend-on-Sea.

Visit the Centre with FREE admission, Thursday–Sunday, 11AM – 17:45PM.

📍 The Gilbert & George Centre
5a Heneage Street, London, E1 5LJ (just off Brick Lane)

Images: Installation views of ‘Our George Crompton, WORLDS and WINDOWS by Gilbert & George’.

#GilbertAndGeorge #TheGilbertAndGeorgeCentre #ArtForAll

Now open: ‘Our George Crompton, WORLDS and WINDOWS by Gilbert & George’ at The Gilbert & George Centre.

A moving tribute to the artists’ close friend, George Crompton, who sadly passed away in September 2025, the exhibition features the triptych ‘CROMPTON STREET' from ‘THE NEW NORMAL PICTURES’ (2020), presented publicly for the first time. Alongside this tribute, Postcard Art from ‘THE URETHRA POSTCARD ART’ (2009) and the ‘WORLDS AND WINDOWS’ (1989) – rarely exhibited and on view for the first time since 1990 – are on view in the Beam and Lower Galleries.

Also on view in the film room is Day Tripping, a film trilogy by director Iain B. MacDonald which follows the artists’ journeys from their East End studio to the Essex coastline of Southend-on-Sea.

Visit the Centre with FREE admission, Thursday–Sunday, 11AM – 17:45PM.

📍 The Gilbert & George Centre
5a Heneage Street, London, E1 5LJ (just off Brick Lane)

Images: Installation views of ‘Our George Crompton, WORLDS and WINDOWS by Gilbert & George’.

#GilbertAndGeorge #TheGilbertAndGeorgeCentre #ArtForAll

Florentina Holzinger’s ‘SEAWORLD VENICE’ at the 61st International Art Exhibition – La Biennale di Venezia

‘SEAWORLD VENICE’ is a bold new interdisciplinary commission, curated by @noralmes (Gropius Bau, Berlin). Known for her genre-defying work that challenges socio-political conventions, Holzinger uses her long-standing research into the element of water—as both subject and symbol—to explore the human body in a radically changing landscape, in which nature and technology collide. The project features a permanent live installation and performances at the Austrian Pavilion, alongside site-specific ‘Études’ across Venice and its lagoon.

Previews now open. Open to the public from 9 May—22 November 2026.

#FlorentinaHolzinger #BiennaleArte2026 @labiennale @austrianpavilion #ThaddaeusRopac

Images: Florentina Holzinger, SEAWORLD VENICE, Austrian Pavilion, Giardini della Biennale, 2026. Photos: © Nicole Marianna Wytyczak (@nicole_marianna_wytyczak)

Florentina Holzinger’s ‘SEAWORLD VENICE’ at the 61st International Art Exhibition – La Biennale di Venezia

‘SEAWORLD VENICE’ is a bold new interdisciplinary commission, curated by @noralmes (Gropius Bau, Berlin). Known for her genre-defying work that challenges socio-political conventions, Holzinger uses her long-standing research into the element of water—as both subject and symbol—to explore the human body in a radically changing landscape, in which nature and technology collide. The project features a permanent live installation and performances at the Austrian Pavilion, alongside site-specific ‘Études’ across Venice and its lagoon.

Previews now open. Open to the public from 9 May—22 November 2026.

#FlorentinaHolzinger #BiennaleArte2026 @labiennale @austrianpavilion #ThaddaeusRopac

Images: Florentina Holzinger, SEAWORLD VENICE, Austrian Pavilion, Giardini della Biennale, 2026. Photos: © Nicole Marianna Wytyczak (@nicole_marianna_wytyczak)

Florentina Holzinger’s ‘SEAWORLD VENICE’ at the 61st International Art Exhibition – La Biennale di Venezia

‘SEAWORLD VENICE’ is a bold new interdisciplinary commission, curated by @noralmes (Gropius Bau, Berlin). Known for her genre-defying work that challenges socio-political conventions, Holzinger uses her long-standing research into the element of water—as both subject and symbol—to explore the human body in a radically changing landscape, in which nature and technology collide. The project features a permanent live installation and performances at the Austrian Pavilion, alongside site-specific ‘Études’ across Venice and its lagoon.

Previews now open. Open to the public from 9 May—22 November 2026.

#FlorentinaHolzinger #BiennaleArte2026 @labiennale @austrianpavilion #ThaddaeusRopac

Images: Florentina Holzinger, SEAWORLD VENICE, Austrian Pavilion, Giardini della Biennale, 2026. Photos: © Nicole Marianna Wytyczak (@nicole_marianna_wytyczak)

Florentina Holzinger’s ‘SEAWORLD VENICE’ at the 61st International Art Exhibition – La Biennale di Venezia

‘SEAWORLD VENICE’ is a bold new interdisciplinary commission, curated by @noralmes (Gropius Bau, Berlin). Known for her genre-defying work that challenges socio-political conventions, Holzinger uses her long-standing research into the element of water—as both subject and symbol—to explore the human body in a radically changing landscape, in which nature and technology collide. The project features a permanent live installation and performances at the Austrian Pavilion, alongside site-specific ‘Études’ across Venice and its lagoon.

Previews now open. Open to the public from 9 May—22 November 2026.

#FlorentinaHolzinger #BiennaleArte2026 @labiennale @austrianpavilion #ThaddaeusRopac

Images: Florentina Holzinger, SEAWORLD VENICE, Austrian Pavilion, Giardini della Biennale, 2026. Photos: © Nicole Marianna Wytyczak (@nicole_marianna_wytyczak)

Watch a statement by Georg Baselitz (1938—2026), recorded for the opening of ‘Eroi d’Oro’, an exhibition presenting his final series of paintings at Fondazione Giorgio Cini in Venice.

‘Two years ago, I had set out to paint pictures – as I usually do – that would serve as a summary and that were also meant to be something definitive within the many experiments I have conducted in the last 60 years. For this, certain formal, aesthetic and art-historical means were necessary.’ — Georg Baselitz

Visit the exhibition at @fondazionecini from tomorrow, Wednesday 6 May, until 27 September 2026.

#GeorgBaselitz
#FondazioneGiorgioCini
#BiennaleArte2026
#ThaddaeusRopac

Video: Markus Huber

Opening this week at Palazzo Cini Gallery in Venice: David Salle, Painting in the Present Tense

Focusing his AI model on his earlier ‘Tapestry Paintings’ (1989–91) – a series of works based on 18th-century Imperial Russian tapestries that were themselves interpretations of 16th- and 17th-century Italian oil paintings – Salle creates new paintings that collapse time, medium and place. Though committed to the centuries-old tradition of paint on canvas, Salle has been quick to adopt new technologies into his practice. His recent partnership with AI can be seen, in part, as an act of resistance to the proposition that AI will replace human creativity. As he explains, ‘One way to subvert a hegemonic technology is to co-opt it for one’s own ends.’

Curated by @lucamassimobarbero.

Opening at @palazzo_cini on 6 May 2026.

@david_salle #DavidSalle
#BiennaleArte2026
#ThaddaeusRopac

Video courtesy of Palazzo Cini Gallery.

SEAWORLD VENICE will unfold beyond the Giardini della Biennale across the city through performative actions in the public space titled Études, marking its opening and closing moments.

Études are a format that Florentina Holzinger has been developing since 2020: compositions between bodies, sound and architecture. According to Frédéric Chopin, ‘an Étude is a musical composition of considerable difficulty, designed to provide practice material for an instrument and its player’.

SEAWORLD VENICE begins with a ceremonial ritual in the lagoon where the Opening Étude will take place on May 6 as an embodied moment that initiates the project through movement, presence, and collective experience.

The Venice Études are realised in partnership with our lead partners and Étude commissioners @bukhmanfoundation, @hartwigartfoundation, and @thaddaeusropac

The Opening Étude on May 6 is fully booked. We look forward to seeing you at the inauguration of SEAWORLD VENICE at the Austrian Pavilion at 12:30 on the same day.

Further Études will be announced soon.

@floholzinger - SEAWORLD VENICE
Curated by @noralmes
Austrian Pavilion
Biennale Arte 2026 @labiennale

📷 1: @nicole_marianna_wytyczak
📷 2: © Nayara Leite, courtesy of Bergen Kunsthall

SEAWORLD VENICE will unfold beyond the Giardini della Biennale across the city through performative actions in the public space titled Études, marking its opening and closing moments.

Études are a format that Florentina Holzinger has been developing since 2020: compositions between bodies, sound and architecture. According to Frédéric Chopin, ‘an Étude is a musical composition of considerable difficulty, designed to provide practice material for an instrument and its player’.

SEAWORLD VENICE begins with a ceremonial ritual in the lagoon where the Opening Étude will take place on May 6 as an embodied moment that initiates the project through movement, presence, and collective experience.

The Venice Études are realised in partnership with our lead partners and Étude commissioners @bukhmanfoundation, @hartwigartfoundation, and @thaddaeusropac

The Opening Étude on May 6 is fully booked. We look forward to seeing you at the inauguration of SEAWORLD VENICE at the Austrian Pavilion at 12:30 on the same day.

Further Études will be announced soon.

@floholzinger - SEAWORLD VENICE
Curated by @noralmes
Austrian Pavilion
Biennale Arte 2026 @labiennale

📷 1: @nicole_marianna_wytyczak
📷 2: © Nayara Leite, courtesy of Bergen Kunsthall

Now open at the Mori Art Museum in Tokyo, Japan: Ron Mueck

The exhibition presents eleven works that trace the artist’s evolution from early masterpieces to recent creations. Six of these works are making their Japanese debut, and notably, the early masterpiece ‘Angel’ (1997) makes this a truly rare opportunity.

This marks the artist’s second solo exhibition in Japan, and is the continuance of a long-lasting relationship between the artist and the @fondationcartier and was first presented in Paris in 2023, traveling to Milan and Seoul before arriving at the Mori Art Museum. 

Visit the exhibition at @moriartmuseum until 23 September 2026.

#RonMueck
#MoriMuseum

Images: Ron Mueck, installation views, Mori Museum, 2026. Photos: Masaya Yoshimura. Courtesy of Fondation Cartier pour l’art contemporain.

Now open at the Mori Art Museum in Tokyo, Japan: Ron Mueck

The exhibition presents eleven works that trace the artist’s evolution from early masterpieces to recent creations. Six of these works are making their Japanese debut, and notably, the early masterpiece ‘Angel’ (1997) makes this a truly rare opportunity.

This marks the artist’s second solo exhibition in Japan, and is the continuance of a long-lasting relationship between the artist and the @fondationcartier and was first presented in Paris in 2023, traveling to Milan and Seoul before arriving at the Mori Art Museum. 

Visit the exhibition at @moriartmuseum until 23 September 2026.

#RonMueck
#MoriMuseum

Images: Ron Mueck, installation views, Mori Museum, 2026. Photos: Masaya Yoshimura. Courtesy of Fondation Cartier pour l’art contemporain.

Now open at the Mori Art Museum in Tokyo, Japan: Ron Mueck

The exhibition presents eleven works that trace the artist’s evolution from early masterpieces to recent creations. Six of these works are making their Japanese debut, and notably, the early masterpiece ‘Angel’ (1997) makes this a truly rare opportunity.

This marks the artist’s second solo exhibition in Japan, and is the continuance of a long-lasting relationship between the artist and the @fondationcartier and was first presented in Paris in 2023, traveling to Milan and Seoul before arriving at the Mori Art Museum. 

Visit the exhibition at @moriartmuseum until 23 September 2026.

#RonMueck
#MoriMuseum

Images: Ron Mueck, installation views, Mori Museum, 2026. Photos: Masaya Yoshimura. Courtesy of Fondation Cartier pour l’art contemporain.

Born on this day: Martha Diamond (1944—2023)

Over the course of more than sixty years, Martha Diamond developed a distinctive body of work that explores the fertile space between abstraction and the cityscape. Working across large-scale canvases, small studies in oil on board and prints, she found her voice distilling the familiar geometry of urban architecture into audacious yet carefully composed brushstrokes. Her work is distinguished by a profound engagement with the language and ideas of abstraction, reflecting her grounding in the experimental energy of the avant-garde movements that surrounded her in her native New York in the second half of the 20th century. Although often sourced in the vertiginous heights and unyielding contours of downtown New York City, the familiarity and universality of the forms she painted transcend specific places, encouraging the viewer to look beyond representation and engage with the works’ painterly qualities – structure, light, colour. Reimagining the tradition of landscape painting for a modern metropolis, Diamond’s works capture both the velocity and the formal beauty of the urban world.

Learn more about the artist via the link in our bio.

@marthadiamondtrust
#MarthaDiamond
#ThaddaeusRopac

Images: 1 & 2. Martha Diamond, Center City, 1982. Oil on canvas. 274.3 × 182.9 cm (108 × 72 in). 2. Portrait of Martha Diamond. Photo: Peter Bellamy, 1984. 4. Martha Diamond, Uptown, 1982 (detail). Oil on canvas. 213.4 × 142.2 cm (84 × 56 in).

Born on this day: Martha Diamond (1944—2023)

Over the course of more than sixty years, Martha Diamond developed a distinctive body of work that explores the fertile space between abstraction and the cityscape. Working across large-scale canvases, small studies in oil on board and prints, she found her voice distilling the familiar geometry of urban architecture into audacious yet carefully composed brushstrokes. Her work is distinguished by a profound engagement with the language and ideas of abstraction, reflecting her grounding in the experimental energy of the avant-garde movements that surrounded her in her native New York in the second half of the 20th century. Although often sourced in the vertiginous heights and unyielding contours of downtown New York City, the familiarity and universality of the forms she painted transcend specific places, encouraging the viewer to look beyond representation and engage with the works’ painterly qualities – structure, light, colour. Reimagining the tradition of landscape painting for a modern metropolis, Diamond’s works capture both the velocity and the formal beauty of the urban world.

Learn more about the artist via the link in our bio.

@marthadiamondtrust
#MarthaDiamond
#ThaddaeusRopac

Images: 1 & 2. Martha Diamond, Center City, 1982. Oil on canvas. 274.3 × 182.9 cm (108 × 72 in). 2. Portrait of Martha Diamond. Photo: Peter Bellamy, 1984. 4. Martha Diamond, Uptown, 1982 (detail). Oil on canvas. 213.4 × 142.2 cm (84 × 56 in).

Born on this day: Martha Diamond (1944—2023)

Over the course of more than sixty years, Martha Diamond developed a distinctive body of work that explores the fertile space between abstraction and the cityscape. Working across large-scale canvases, small studies in oil on board and prints, she found her voice distilling the familiar geometry of urban architecture into audacious yet carefully composed brushstrokes. Her work is distinguished by a profound engagement with the language and ideas of abstraction, reflecting her grounding in the experimental energy of the avant-garde movements that surrounded her in her native New York in the second half of the 20th century. Although often sourced in the vertiginous heights and unyielding contours of downtown New York City, the familiarity and universality of the forms she painted transcend specific places, encouraging the viewer to look beyond representation and engage with the works’ painterly qualities – structure, light, colour. Reimagining the tradition of landscape painting for a modern metropolis, Diamond’s works capture both the velocity and the formal beauty of the urban world.

Learn more about the artist via the link in our bio.

@marthadiamondtrust
#MarthaDiamond
#ThaddaeusRopac

Images: 1 & 2. Martha Diamond, Center City, 1982. Oil on canvas. 274.3 × 182.9 cm (108 × 72 in). 2. Portrait of Martha Diamond. Photo: Peter Bellamy, 1984. 4. Martha Diamond, Uptown, 1982 (detail). Oil on canvas. 213.4 × 142.2 cm (84 × 56 in).

Born on this day: Martha Diamond (1944—2023)

Over the course of more than sixty years, Martha Diamond developed a distinctive body of work that explores the fertile space between abstraction and the cityscape. Working across large-scale canvases, small studies in oil on board and prints, she found her voice distilling the familiar geometry of urban architecture into audacious yet carefully composed brushstrokes. Her work is distinguished by a profound engagement with the language and ideas of abstraction, reflecting her grounding in the experimental energy of the avant-garde movements that surrounded her in her native New York in the second half of the 20th century. Although often sourced in the vertiginous heights and unyielding contours of downtown New York City, the familiarity and universality of the forms she painted transcend specific places, encouraging the viewer to look beyond representation and engage with the works’ painterly qualities – structure, light, colour. Reimagining the tradition of landscape painting for a modern metropolis, Diamond’s works capture both the velocity and the formal beauty of the urban world.

Learn more about the artist via the link in our bio.

@marthadiamondtrust
#MarthaDiamond
#ThaddaeusRopac

Images: 1 & 2. Martha Diamond, Center City, 1982. Oil on canvas. 274.3 × 182.9 cm (108 × 72 in). 2. Portrait of Martha Diamond. Photo: Peter Bellamy, 1984. 4. Martha Diamond, Uptown, 1982 (detail). Oil on canvas. 213.4 × 142.2 cm (84 × 56 in).

In loving memory of Georg Baselitz (1938–2026)

We are deeply saddened to announce the passing of Georg Baselitz, a titan of contemporary painting, sculpture, drawing and printmaking. A canonical innovator and one of the most important artists of our time, he had a profound influence on his fellow artists and the international art world throughout his career. His artworks, which are held in the greatest museum collections spanning the globe, will continue to carry his legacy.

The obituary shared by Baselitz’s family, written by Robert Isaf, is available to read via the link in our bio.

Our heartfelt thoughts are with his wife, Elke Baselitz, as well as with their sons, Daniel Blau and Anton Kern, and their family. We extend our condolences to his studio team whose exceptional dedication and loyalty spanned many years. Together with Baselitz’s wide community of artists, museum curators, gallery colleagues, friends and collaborators around the world, we feel his passing deeply.

#GeorgBaselitz

Photo by @martinmueller_fotografie

‘It makes sense if you have recorded your life in a diaristic manner – in my case, in the form of paintings’ – to think in terms of cycles: ‘What happens next? What will tomorrow bring?’’ — Georg Baselitz

Opening on 6 May at Fondazione Giorgio Cini, Venice, ‘Eroi d’Oro’ features the German artist’s most recent series of large-scale paintings, which explore the interplay between luminous gold grounds and delicately rendered figures, overlaid in some compositions with bursts of impasto colour. As the artist remarks on his new works: ‘Gold absorbs space, absorbs shadows, absorbs spatiality [...]. And on top of that, just a drawing, as if on a piece of paper, a nude drawing [...] as fine as I could manage.’

«Ha senso, se hai registrato la tua vita in forma diaristica – nel mio caso, attraverso la pittura – pensare per cicli: “Cosa succede dopo? Cosa porterà il domani?”» — Georg Baselitz

In apertura il 6 maggio alla Fondazione Giorgio Cini di Venezia, Eroi d’Oro presenta la più recente serie di dipinti di grande formato dell’artista tedesco, nei quali l’interazione tra fondi dorati luminosi e figure delicatamente tratteggiate si accompagna, in alcune composizioni, a improvvise accensioni di colore materico. Come osserva l’artista a proposito di queste nuove opere: «L’oro assorbe lo spazio, assorbe le ombre, assorbe la spazialità [...]. E sopra tutto questo, solo un disegno, come su un foglio di carta, un disegno di nudo [...] il più raffinato che sono riuscito a realizzare».

Curated by / A cura di @lucamassimobarbero

#GeorgBaselitz
#FondazioneGiorgioCini
#BiennaleArte2026
#ThaddaeusRopac

Video: Markus Huber

Joan Miró’s ‘Femme et oiseau’ (1982) at Thaddaeus Ropac Salzburg Villa Kast

In the gallery’s outdoor courtyard stands Miró’s three-metre-tall ‘Femme et oiseau’ first conceived in 1962 as a ceramic, this iconic bronze is a precursor to his monumental ‘Dona i Ocell’ sculpture of 22 metres, which was inaugurated in the Parc de Joan Miró in Barcelona in 1983. The imposing, abstracted female figure – whose primitive forms and incised hypertrophied sex hark back to Paleolithic mother-goddess statues – is crowned by a moon- shaped bird that symbolises the potent connection between the earthly and celestial realms that runs through Miró’s artistic practice.

‘It is in sculpture that I will create a truly phantasmagoric world of living monsters.’ — Joan Miró

On view as part of solo exhibition, ‘Sculptures’, until 4 July 2026.

#JoanMiró
#ThaddaeusRopac

Images: Joan Miró, Femme et oiseau, 1982. Bronze (lost wax casting) - Date of cast: 1999. 330 x 73 x 60 cm (129.92 x 28.74 x 23.62 in).

Joan Miró’s ‘Femme et oiseau’ (1982) at Thaddaeus Ropac Salzburg Villa Kast

In the gallery’s outdoor courtyard stands Miró’s three-metre-tall ‘Femme et oiseau’ first conceived in 1962 as a ceramic, this iconic bronze is a precursor to his monumental ‘Dona i Ocell’ sculpture of 22 metres, which was inaugurated in the Parc de Joan Miró in Barcelona in 1983. The imposing, abstracted female figure – whose primitive forms and incised hypertrophied sex hark back to Paleolithic mother-goddess statues – is crowned by a moon- shaped bird that symbolises the potent connection between the earthly and celestial realms that runs through Miró’s artistic practice.

‘It is in sculpture that I will create a truly phantasmagoric world of living monsters.’ — Joan Miró

On view as part of solo exhibition, ‘Sculptures’, until 4 July 2026.

#JoanMiró
#ThaddaeusRopac

Images: Joan Miró, Femme et oiseau, 1982. Bronze (lost wax casting) - Date of cast: 1999. 330 x 73 x 60 cm (129.92 x 28.74 x 23.62 in).