Saraswati Art Gallery And Store

Monday, March 9, 2026

Sculptor Thaddeus Mosley dies at 99. https://ift.tt/bfx8BEa

Thaddeus Mosley, the self-taught artist best known for his monumental sculptures made from reclaimed wood and bronze, died on Friday at his home in Pittsburgh. He was 99. His family announced the news in a statement, which was confirmed by Karma, the gallery that represents him. No cause of death was specified.

Mosley produced artwork over the course of nearly seven decades, but he found international acclaim only within the last 10 years. In 1968, he had his first solo show at the Carnegie Museum of Art in Pittsburgh, where he lived and worked. Yet his breakout moment came in 2018, when Mosley was featured in the 57th edition of the Carnegie International, the longest-running survey of international contemporary art in North America. Soon after, he gained representation with Karma and went on to have six solo shows at the gallery’s spaces in Los Angeles and New York. The last of those shows, “Glass,” is currently on view at the gallery in Chelsea through March 28. The exhibition features a selection of small-scale sculptures the artist produced between 2010 and 2013, assembled from fragments of glass he collected decades ago from an abandoned bottle factory.

Mosley was born in New Castle, Pennsylvania, in 1926. In the late 1940s, he served in the U.S. Navy before earning degrees in English and journalism from the University of Pittsburgh. After graduating, he worked as a photographer and a freelance reporter, and in 1952, took a job with the U.S. Postal Service, where he worked until 1992.

He turned to making art in 1950, creating works he called “sculptural improvisations” that were inspired by Constantin Brâncuși, Isamu Noguchi, African sculpture, and jazz. Mosley had come across a group of teak birds in a boutique window and set out to make his own, carving small figures from fallen logs cast off by the city’s parks department. He then widened his practice to incorporate stone, bronze, and glass after studying books on sculpture at the public library, and developed his signature style, which balances sturdiness with precarity.

Circled Planes, 2020
Thaddeus Mosley
Karma

A major institutional survey of Mosley’s work opened at the Baltimore Museum of Art in 2021, following his participation in the Carnegie International. That exhibition, titled “Thaddeus Mosley: Forest,” traveled to Art + Practice in Los Angeles and the Nasher Sculpture Center in Dallas. And in 2025, Public Art Fund invited the artist to present a selection of bronze sculptures in the park outside City Hall in New York. His work is held in the collections of museums including the Art Institute of Chicago, the Brooklyn Museum, the Whitney Museum of American Art, and the Guggenheim Museum.

from Artsy News https://ift.tt/n5heTwM

Cosima von Bonin’s sculptures star in Loewe’s fall/winter 2026 runway show. https://ift.tt/6ZN0JDM

German artist Cosima von Bonin’s whimsical fabric sculptures played a starring role in Loewe’s fall/winter 2026 fashion show on March 6, 2026. The show, held at the Château de Vincennes, marked the first Paris presentation by the Spanish fashion house’s new co-creative directors, Jack McCollough and Lazaro Hernandez, founders of Proenza Schouler.

Plush creations in the form of hermit crabs, bulldogs, and killer whales by the Cologne-based artist sat interspersed atop rows of oversized white shoeboxes that served as seats. As models paraded down the lacquered marigold-yellow catwalk, they sported designs that incorporated her floral and gingham motifs, whether in inner linings or hand-painted onto garments. Loewe’s Amazona 180 bag was also rendered in porcelain by the artist. Von Bonin’s sculptural sea creatures and canines were also present in the form of charms, jewels, accessories, and minaudières.

“Humour, levity, and a bright, inclusive spirit—qualities we recognise as intrinsic to LOEWE’s Spanish heritage—led us to the work of Cosima von Bonin, an artist we have long admired and with whom we were fortunate to spend time recently,” said McCollough and Hernandez in the presentation’s show notes. “Her work mirrors many of the ideas we were seeking to articulate and manifest in physical form. Her wry humour cloaks rigorous questioning and critique—a tension between outward levity and a subversive undercurrent. Humour can be revolutionary, at times the most piercing way to deliver a serious message.”

Von Bonin was born in Mombasa, Kenya, in 1962. She works across painting and sculpture, and often incorporates found objects and pop-cultural touchstones into installations that are tinged with dark humor. Her work has been shown at the 59th edition of the Venice Biennale in 2022, the Glasgow International Festival of Contemporary Art in 2016, and Documenta in 1982 and again in 2007. Solo presentations dedicated to the artist have taken place at the Schirn Kunsthalle Frankfurt; the Museum of Contemporary Art, Los Angeles; and SculptureCenter in New York. She is represented by Petzel Gallery in New York.

The luxury Spanish brand has a history of celebrating craft and artistry in its fashion shows, particularly under its previous creative director, Jonathan Anderson. Ellsworth Kelly’s Yellow Panel with Red Curve (1989) served as a starting point for Loewe’s spring/summer 2026 collection, while inspirations for past runway shows and collections have included collaborations with American sculptor Lynda Benglis, Italian painter and installation artist Lara Favaretto, and Los Angeles–based painter Richard Hawkins. The Loewe Foundation recently announced its shortlist of finalists for the 2026 Loewe Craft Prize, whose winner will be announced on May 12, 2026.

from Artsy News https://ift.tt/jc4TYFv

5 Standout Shows to See at Small Galleries This March https://ift.tt/t7ilQov

Acausality #13, 2025
Dario Maglionico
Antonio Colombo

In this monthly roundup, we spotlight five stellar exhibitions at small and rising galleries.

Zé Tepedino

“Keep This Between Us”

Ysasi Gallery, Los Angeles

Through Apr. 28

Sem título, 2025
Zé Tepedino
Ysasi Gallery

garupa, 2026
Zé Tepedino
Ysasi Gallery

Brazilian artist Zé Tepedino’s upcycled artworks made a splash at last year’s Art Basel Miami Beach. His hotly awaited stateside debut finally opened at Ysasi Gallery during Frieze Los Angeles last month.

Tepedino traveled from Rio de Janeiro to install the show, collaging the inside of the gallery’s windows with pages from old books to create an aura of mystery from the outside and a sense of intimacy within. The artworks on view demonstrate Tepedino’s material range—he’s known for repurposing found rubber, sails, beach bags, and more into wall-hanging relics like Sem título (2025) and garupa (2026). In the process, Tepedino reasserts the poetic, rather than functional, possibilities of everyday objects. Some works were shipped from Tepedino’s studio; others he made on site, placing Rio in conversation with L.A.

The whole show centers on an unedited film Tepedino shot at Brazil’s world-renowned Carnival with a handheld camera, since this year’s edition coincided with his exhibition’s opening. Ysasi Gallery’s portion is one in a two-part presentation with Brazilian design platform ESPASSO, which hosted an artist talk ahead of the opening.

Alejandra España

“TUNNEL AND THE GLIMPSE”

CAM Galería, Mexico City

Through Apr. 10

Mar de sal, 2026
Alejandra España
CAM Galería

La montaña también es universo, 2026
Alejandra España
CAM Galería

Human perception typically emphasizes objects, or positive space, rather than the negative space surrounding them. Mexico City–based artist Alejandra España is inverting this tendency by harnessing the recognizable motif of the tunnel and the light at its end. In her latest wall-hanging collages, these tunnels are dark swaths of cut paper. Their lights are glistening 24-karat gold leaf.

These collages cluster throughout CAM Galería, punctuated by several oil and chalk paintings like Mar de sal (2026), a transcendent natural scene which also evokes an atomic bomb’s mushroom cloud. España’s more figurative scenes offer a kind of visual key to her comparatively opaque collages, which are the most complex additions yet in a body of work she’s pursued for nearly 15 years, inspired by Abstract Expressionist Robert Motherwell. Ceramic vases embossed with birds, moths, and other fauna anchor the lineup of works, with help from a large triptych reprising their critters. “The exhibition proposes an interconnected vision of existence,” CAM Galería stated in a press text. For España, that means positive and negative space—light and dark—are one.

Maria and Natalia Petschatnikov

“A Rough Cut”

BBA Gallery, Berlin

Through April 18, 2026

Sofa, 2024
Maria and Natalia Petschatnikov
BBA Gallery

It’s impossible to experience all of Berlin in a week. Nevertheless, the artist twins Maria and Natalia Petschatnikov have attempted to condense their hometown of 15 years into a single show. BBA Gallery, situated in the duo’s own neighborhood, provides a fitting venue for such a love letter.

The Petschatnikovs’ forthcoming exhibition, named for the first, choppy draft of a film, encompasses several disparate series of their acclaimed hyperrealistic oil paintings. “A Rough Cut” will feature numerous examples from their “Cardboard Furniture” series, crafted “as both still lifes and landscapes,” the twins stated. Massive renditions of discarded seating like Sofa (2024) will accompany these, offering indirect portraits of their former owners. Glistening portrayals of leaves will appear as well, alongside a 2023 series in which the twins painted crumpled calendar pages from 2032, treating the future “as a discarded relic of the past,” per the gallery.

Graffiti, which figures in several pieces, is specific to any given city. Still, the playful simplicity permeating the Petschatnikovs’ paintings proves universal. The artists, who call themselves “anthropologists of the ordinary,” have discovered an infinite store of inspiration on Berlin’s streets.

Emilie Houldsworth

“Chiaroscuro”

PARRI BLANK, Stuttgart, Germany

Through Mar. 13

After Reni, Bologna, 2025
Emilie Houldsworth
PARRI BLANK

Co-op Isle 2, 2025
Emilie Houldsworth
PARRI BLANK

Velvet meets steel in the sumptuous artworks of London-based artist Emilie Houldsworth, who’s closing out her first-ever solo show on mainland Europe. Houldsworth has brought together sculptures and textiles in this manner since earning her MA from the prestigious Royal College of Art in 2023. Her works portray digital imperfections using a labor-intensive process inspired by the underground dance beats that Bristol, England, where she was born, is known for. After screenshotting glitches that she witnessed while scrolling photos on her phone, Houldsworth developed an algorithm “that generates patterns from randomly selected pixels, fragmenting the image into coded structures,” according to the gallery. These patterns plot her abstract topographies of richly-hued velvet.

The works in “Chiaroscuro,” though, wield newfound drama. Houldsworth made most of them while participating in Italy’s esteemed Palazzo Monti residency last year. Both the 13th-century palazzo and the city of Brescia, Italy, beyond bear scores of historic frescoes. Houldsworth has turned their cinematic scenes into sparse segments of color, divided by steel traces. For example, After Reni, Bologna (2025) trades the artist’s more signature jewel tones for the brooding palettes of Italian Baroque legend Guido Reni, melting his moving scene into something minimal and obscure, suited to contemporary culture’s muddled cacophony.

Dario Maglionico

“Dis-sequenze liminali/Liminal de-sequences”

Colombo’s Gallery, Milan

Through April 3

Reificazione #95, 2025
Dario Maglionico
Antonio Colombo

Since 1998, art dealer Antonio Colombo has brought a fresh perspective to Milan’s storied art scene, showing contemporary Italian artists like El Gato Chimney and Zio Ziegler, American stars like Jacob Hashimoto and Barry McGee, and even musical legends like Moby and Daniel Johnston. In 2017, Colombo gave self-taught Neapolitan painter Dario Maglionico his first Milanese solo show. Now, to mark the gallery’s rebrand—featuring a new gallery name, logo, and website—the newly-minted Colombo’s Gallery is presenting Maglionico’s latest body of work in its project room.

This exhibition, curated by critic, journalist, and professor Arianna Baldoni, centers on Reificazione #95 (2025), a large, enigmatic oil painting that depicts a stylish woman alone at a dinner table. Her face remains hidden—she’s peering at the floating stool, caged jellyfish, and clones of her reflection in the warped surface behind it all. Maglionico has honed his surreal style for nearly a decade. Last year, he was shortlisted for the annual Premio Cairo—a leading prize for ascendant Italian artists, which has been previously awarded to talents like Giulia Cenci and Paolo Bini. The resulting series emphasizes Maglionico’s emergent experiments with mirrors. The results are electric, haunting, tantalizing.

from Artsy News https://ift.tt/AP5YLWw

Saturday, March 7, 2026

Why Beatriz González’s Haunting Paintings Are More Relevant Than Ever https://ift.tt/nTLfW9Z

In three pivotal early paintings by the Colombian artist Beatriz González, a smartly dressed couple pose side by side, clutching a bouquet. The man wears a fedora, the woman a headscarf. While the warm colors evoke a sense of optimism, the series title, “Los suicidas del Sisga” (1965), and the figures’ solemn expressions hint at an underlying darkness. González based the works on a photograph from a newspaper’s crime section that was widely reproduced across the media: The subjects, gardener Antonio Martínez Bonza and domestic worker Tulia Vargas, his girlfriend, jumped into the Sisga reservoir, north of Bogotá, to take their own lives just days after the photograph was taken. Bonza left behind a note that he wished to preserve Vargas’s purity from a sinful world.

Over six decades, González, who died last month aged 93, transformed such everyday images into bold, unsettling compositions. Around 150 of these works—which made her one of Colombia’s most revered artists—are on display in “Beatriz González,” a touring retrospective of the artist’s career currently on view at the Barbican Centre in London until May. “I’ve known about Beatriz since I was a young girl,” said her gallerist, Catalina Casas, director of Bogotá’s Casas Riegner gallery. She noted that González’s work has a “universal language” and said, “When we speak to any artist of any generation in the Colombian art scene, she is always a reference.”

Beatriz González’s style

Most of González’s work comes from preexisting images, which she collected obsessively throughout her life. Yet what drew the artist to certain pictures is not always immediately obvious. Curator Lotte Johnson points out that it wasn’t the couple’s background that moved González to create “Los suicidas del Sisga,” for example, but the degradation of the image itself over time. “As it was replicated and reprinted, it started deteriorating,” she said, explaining that González was “interested in how fast we forget” images in the media. “We flip past them, and we almost become desensitized to them.” González then transformed such photographs into flat, boldly colored paintings using “technical tones like yellow, red, green, blue, orange—this kind of kaleidoscopic palette,” she added.

Natalia Gutiérrez, curatorial advisor for the Barbican show and González’s former assistant, points out that the artist clipped at least five newspaper articles a day for over 60 years. She stored this vast array of images in folders, which Gutiérrez is now sifting through to produce a comprehensive catalogue for public research. Despite the clarity of González’s style, Gutiérrez sees no clear throughline for González’s subject matter beyond a particular affinity for photojournalism. Instead, her work was “based on the impact of the image,” she said. González “wasn't interested in just recreating a scene from the news, but abstracting elements of those images.”

While González did not transform all these images into paintings, her collection evolved into an artwork itself, amounting to an “extraordinary archive of postcards, newspaper clippings, and reproductions of works,” according to Johnson. And while many of her best-known works depict death and political issues, she also reproduced globally recognizable artworks.

Associations with Pop art

In 1963, González began working on a series of paintings based on Johannes Vermeer’s The Lacemaker (1670–71), eventually exhibited in her first solo exhibition at the Museo de Arte Moderno in Bogotá in 1964. These reinterpretations became a wider trend in her practice. “She’s grappling with these so-called masters from Western art history and really contending with them with great reverence, but also critique,” Johnson said. “She was taking Veláquez, Vermeer, Michelangelo, Leonardo, Raphael, these artists who are the so-called pantheon of the Western canon, and thinking about what it means when images of these artworks land in Latin America.”

González’s vibrant reinterpretations led the Western art world to regard her as a Pop art icon as her work gained global acclaim. Yet the artist often stressed that she was not positioning herself in dialogue with Andy Warhol or Roy Lichtenstein and was largely unaware of the movement taking place in the U.S. in the ’60s. “She considered herself a provincial artist,” Casas explained. Yet Casas also noted that she never fought too harshly against the position. “When [curator] Jessica Morgan invited her to be a part of “The World Goes Pop” at the Tate Modern, she said, ‘Well, if I have to be Pop, let them say I’m Pop.’”

González’s work took a political turn

Today, the Tate owns at least two González works that use mass-produced furniture as canvas. The artist started exploring this medium around 1970. At that point in her career, she was “moving away from the traditional format of oil on canvas to experiment,” Gutiérrez explained, noting that many of the paintings reflect their supports. The Last Table (1970), for example, is a reinterpretation of Leonardo da Vinci’s The Last Supper (1495–98) on a faux-wood dining table, and Interior Decoration (1981) is a nearly 66-foot-long section of a silkscreened fabric hanging, often described by the institution as González’s first explicitly political work.

Originally a nearly 640-foot-long curtain (sold by the centimeter in a bid to make her work more accessible), Interior Decoration depicts an image of Colombia’s 25th president, Julio César Turbay. In the original newspaper photograph, the president sings folk songs at an event celebrating a military officer whose new law forced the writer Gabriel García Márquez and others into exile. Johnson explained that Turbay “led a particularly brutal regime,” yet hired journalists to document an “exuberant, frivolous lifestyle.” The piece, which purposefully simplified the figures and distorted the colors, serves as a “searing critique of the political regime and its hypocrisy at the time,” she said.

Before her death, González was intimately involved in her retrospective and was particularly excited for it to show in London. Casas remembers visiting the Barbican with her before heading to the Netherlands, where González spoke about how “she wished she could at some point show there.” For González, “it was like a dream come true,” Casas explained. And while González did not live to see the final installation, Johnson reminded us that, as one of the most influential Colombian artists of her time, her name precedes the exhibition. “This is not a rediscovery of an artist,” she said. “This is someone who has been practicing for decades.”

from Artsy News https://ift.tt/UMci6eE

Friday, March 6, 2026

Musician Jack White will debut his artwork at Damien Hirst’s gallery this May. https://ift.tt/6RcNP1v

American musician Jack White will present his artwork to the public for the first time at Damien Hirst’s Newport Street Gallery in London. The exhibition, titled “These Thoughts May Disappear,” will run from May 29th through September 13th and include sculptures, interactive works, installation, and furniture design.

White is best known as the guitarist and lead vocalist of the rock duo The White Stripes. While he is now based in Nashville, it is the artist’s native Detroit that informs his visual work, along with mid-century modern furniture, local Detroit Cass Corridor artists including Gordon Newton and Robert Sestok, and the De Stijl and Dada movements. He refers to his artistic practice as “Hardware Store Art,” which fuses carpentry, upholstery, assemblage, and the reappropriation of found materials. He has long maintained an upholstery practice and opened his own shop, Third Man Upholstery, in Detroit in 1996.

The exhibition will feature a new version of White’s 2015 sculpture, The Red Tree, which transforms a dying tree into a sculpture by covering it in oil-based fire engineered exterior paint. The work slowly decays and takes on a new form over time.

Other works in the show will incorporate tools, weapons, household equipment, and more found objects that White has suspended in epoxy, as well as planks of wood painted in alternating stripes of black, goldenrod, cherry red, electric green, and cerulean. And in one piece, the artist has gathered what appear to be orange traffic markers into a cone formation, their bases attached to a wooden pallet. The composition evokes a bonfire.

“As an artist it is your job not to take the easy way out. I want to be turned on when I listen to an artist speak: I want them to show something that no one else is doing,” White said in a 2018 interview with The Guardian.

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The 5 Best Booths at ARCOmadrid 2026 https://ift.tt/p3Yhwjx

ARCOmadrid’s 45th edition is well underway at the IFEMA exhibition center, bringing together 211 galleries from 30 countries through March 8th. The VIP day on March 5th began with flutes of Ruinart, pasteles de nata, and liqueur-filled sweets offered at the entrance—a convivial welcome to a fair that quickly filled with visitors.

One of the first works greeting guests was Jesús Rafael Soto’s bright yellow Esfera Amarilla (1984) at local gallery Elvira González, an Op art sphere that quickly became a photo stop. The atmosphere was lively and sociable, though a quieter political gesture threaded through the aisles: Several Spanish gallerists wore red stickers in support of a strike protesting the country’s high VAT on art sales, which remains unreformed despite reductions elsewhere in Europe.

Spain’s leading contemporary art fair, ARCOmadrid, is renowned for its strong dialogue between European and Latin American artists and exhibitors. Spanish galleries made up 34 percent of the fair, with 72 exhibitors, joined by strong contingents from Germany (24 galleries), Brazil (15), France (14), and Portugal (13). The fair’s longstanding emphasis on Latin America acts as “a geographical focus without being geographically binding,” as director Maribel López put it—helping attract collectors from across the region.

Galleries across the fair reported strong energy on its VIP day. In the fair’s Opening. New Galleries, featuring 18 spaces operating for less than eight years, New York’s Gratin sold out its presentation of works by painter Max Jahn before the end of VIP day. Highlight sales from the main section included Esther Schipper, which reported several works placed above €200,000 ($231,270) and Thaddaeus Ropac, which had sold roughly half its booth by the afternoon.

Here are our five best booths from the fair—group presentations that achieved a thoughtful sense of balance.

Fortes D’Aloia & Gabriel

Booth 7B09

With works by Márcia Falcão, León Ferrari, Pélagie Gbaguidi, Cristiano Lenhardt, Ernesto Neto, Rivane Neuenschwander, Janaina Tschäpe, Luiz Zerbini

Latin American tastemaker Fortes D’Aloia & Gabriel’s presentation emphasizes conversations across generations of artists in the gallery’s program. “For ARCO this year, we decided to show more works by fewer artists, to highlight dialogues within our program,” said Alexander Santema, the gallery’s associate international director.

At the booth’s center are Cristiano Lenhardt’s lithe metallic silhouettes from the 2024 series “Concentro Espelhar,” which establish an elegant sculptural focal point. These are flanked by Ernesto Neto’s wall piece Entre a terra e o sol (2025)—cotton thread stretched across wooden pegs, unfurling outward like an eager blossom—and Pélagie Gbaguidi’s brightly gestural painting Momento (2025), animated by floating red limbs.

Fechamento, 2026
Ana Claudia Almeida
Fortes D'Aloia & Gabriel

Festa Junina, 2026
Ana Claudia Almeida
Fortes D'Aloia & Gabriel

Pequena caixa explode, 2026
Ana Claudia Almeida
Fortes D'Aloia & Gabriel

Malandra não Para XXIX, 2026
Marcia Falcão
Fortes D'Aloia & Gabriel

Backyard, 2006
Janaina Tschäpe
Fortes D'Aloia & Gabriel

Green descending, 2024
Ana Claudia Almeida
Fortes D'Aloia & Gabriel

incandescence, 2023
Pélagie Gbaguidi
Fortes D'Aloia & Gabriel

Entre a terra e o sol, 2026
Ernesto Neto
Fortes D'Aloia & Gabriel

Vagalume, 2025
Luiz Zerbini
Fortes D'Aloia & Gabriel

Notícia de Jornal (Suely) | Tabloid Story (Suely), 2025
Rivane Neuenschwander
Fortes D'Aloia & Gabriel

Abricó de macaco 8, 2023
Luiz Zerbini
Fortes D'Aloia & Gabriel

Variações Corpo Mar Corpo/aisagem 19, 2025
Ernesto Neto
Fortes D'Aloia & Gabriel

Módulo Inexato AR, 2026
Cristiano Lenhardt
Fortes D'Aloia & Gabriel

Desfazer para ser VII, 2025
Cristiano Lenhardt
Fortes D'Aloia & Gabriel

Concentro Espelhar (Chapéu), 2024
Cristiano Lenhardt
Fortes D'Aloia & Gabriel

Nearby hangs a striking quartet from Rivane Neuenschwander’s small-scale 2025 series “Notícia de Jornal.” In these pigment and acrylic paintings, the chilling aftermath of violence appears through dripping blood and seeping stains that mark otherwise neutral interiors with geometrically tiled floors. Each work bears the name of a victim of domestic violence, drawn from real-life cases and media headlines.

Other highlights include Luiz Zerbini’s works inspired by fireflies and nature’s underlying grids, while Lenhardt reappears with perforated aluminum rectangles framed by enamel ceramics. Janaina Tschäpe’s lively abstract canvas Coração disparado (2025), rendered in oil and oil stick, offers a preview of the artist’s upcoming solo exhibition at the gallery’s São Paulo space next month.

Sabrina Amrani

Booth 9C12

With works by Carlos Aires, Joël Andrianomearisoa, Gabriela Bettini, Josep Grau-Garriga, Alexandra Karakashian, Timo Nasseri, and Wardha Shabbir

Local Madrid gallery Sabrina Amrani’s presentation highlights textile traditions and politically charged material histories. A longtime participant in the fair—now in its 13th year—the gallery places late Catalan artist Josep Grau-Garriga’s monumental textiles at the center of its booth. Standouts include the sprawling jute, hemp, wool, and synthetic fiber works Paisatge d’estreps (1981) and La llum i el temps (1987), the latter woven with the artist’s personal garments, including a light blue sweater and paint-spattered smock. Grau-Garriga sourced materials from a Barcelona factory that once produced textiles for Pablo Picasso and Joan Miró.

“Many of these artists from the ’70s were socialists, so they were working a lot with this popular material,” said Pedro Gohlke, the gallery’s international director.

The Eternal Essence, 2025
Wardha Shabbir
Sabrina Amrani

WORDS CIGARS WHISPERS AND CARESSES FOR YOU , 2022
Joël Andrianomearisoa
Sabrina Amrani

Labyrinth of Passions (JA298), 2013
Joël Andrianomearisoa
Sabrina Amrani

Labyrinth of Passions (JA299), 2013
Joël Andrianomearisoa
Sabrina Amrani

Labyrinth of Passions (JA309), 2013
Joël Andrianomearisoa
Sabrina Amrani

Labyrinth of Passions (JA320), 2013
Joël Andrianomearisoa
Sabrina Amrani

Close to Hand III, 2025
Alexandra Karakashian
Sabrina Amrani

Close to Hand VI, 2025
Alexandra Karakashian
Sabrina Amrani

Close to Hand VII, 2025
Alexandra Karakashian
Sabrina Amrani

La llum i el temps, 1987
Josep Grau-Garriga
Sabrina Amrani

Trencar el sac, 1976
Josep Grau-Garriga
Sabrina Amrani

Paisatge d’estreps, 1981
Josep Grau-Garriga
Sabrina Amrani

FACE TO FACE WITH DEATH III (Crisis edition), 2025
Carlos Aires
Sabrina Amrani

Lago Lacar, 2026
Gabriela Bettini
Sabrina Amrani

Playa Grande, 2026
Gabriela Bettini
Sabrina Amrani

Río de la Plata, 2026
Gabriela Bettini
Sabrina Amrani

Glaciar, 2026
Gabriela Bettini
Sabrina Amrani

Memoria del agua I, 2026
Gabriela Bettini
Sabrina Amrani

Memoria del agua II, 2026
Gabriela Bettini
Sabrina Amrani

Memoria del agua III, 2026
Gabriela Bettini
Sabrina Amrani

Memoria del agua IV, 2026
Gabriela Bettini
Sabrina Amrani

Memoria del agua V, 2026
Gabriela Bettini
Sabrina Amrani

Memoria del agua VI, 2026
Gabriela Bettini
Sabrina Amrani

Memoria del agua VII, 2026
Gabriela Bettini
Sabrina Amrani

Memoria del agua VIII, 2026
Gabriela Bettini
Sabrina Amrani

Memoria del agua IX, 2026
Gabriela Bettini
Sabrina Amrani

Memoria del agua X, 2026
Gabriela Bettini
Sabrina Amrani

Memoria del agua XI, 2026
Gabriela Bettini
Sabrina Amrani

I saw a broken Labyrinth L1, 2025
Timo Nasseri
Sabrina Amrani

I saw a broken labyrinth #16, 2021
Timo Nasseri
Sabrina Amrani

Line of Force I, 2025
Waqas Khan
Sabrina Amrani

Untitled VI, 2025
Waqas Khan
Sabrina Amrani

OUR LAND JUST LIKE A DREAM, 2022
Joël Andrianomearisoa
Sabrina Amrani

Mountain I, 2023
Manal AlDowayan
Sabrina Amrani

The Mermaid, 2015
Manal AlDowayan
Sabrina Amrani

Folding Drawing #72, 2023
Jong Oh
Sabrina Amrani

Folding Drawing (mimic) #1, 2023
Jong Oh
Sabrina Amrani

Light of Segovia #11, 2019
Jong Oh
Sabrina Amrani

Light of Segovia #7, 2019
Jong Oh
Sabrina Amrani

Light of Segovia #9, 2019
Jong Oh
Sabrina Amrani

Labyrinth of Passions (JA290), 2013
Joël Andrianomearisoa
Sabrina Amrani

Infinitesimal, 2015
Nicène Kossentini
Sabrina Amrani

Infinitesimal II, 2016
Nicène Kossentini
Sabrina Amrani

Undying XL, 2018
Alexandra Karakashian
Sabrina Amrani

Undying XLVIII , 2018
Alexandra Karakashian
Sabrina Amrani

Reverberación del verbo I, 2024
Julia Llerena
Sabrina Amrani

Reverberación del verbo II, 2024
Julia Llerena
Sabrina Amrani

Reverberación del verbo IV, 2024
Julia Llerena
Sabrina Amrani

Reverberación del verbo V, 2024
Julia Llerena
Sabrina Amrani

Reverberación del verbo VI, 2024
Julia Llerena
Sabrina Amrani

Reverberación del verbo VII, 2024
Julia Llerena
Sabrina Amrani

Reverberación del verbo VIII, 2024
Julia Llerena
Sabrina Amrani

Reverberación del verbo IX, 2024
Julia Llerena
Sabrina Amrani

Traspúa, 1976
Josep Grau-Garriga
Sabrina Amrani

Nearby, Carlos Aires presents more delicate yet biting works: pinned, laser-cut figures made from real paper currencies. In Face to Face with Death III (Crisis edition) (2025), silhouettes—including Donald Trump at a podium—cluster around skulls, cut from banknotes of the 35 richest countries by GDP. Displayed amid the commerce of an art fair, the work’s irony is intentional. “The security that we think we have when we have money is nothing compared to the fragility of the human being,” said Gohlke.

Elsewhere, Gabriela Bettini’s works, hung against a light green wall, depict marine life live-streamed from thousands of meters beneath the ocean’s surface. These scenes intertwine with charcoal drawings referencing members of the artist’s Argentine family who were disappeared during the 20th century dictatorship.

Meessen

Booth 9C19

With works by Ignasi Aballí, Robert Devriendt, Benoît Maire, Théo Massoulier, Jorge Méndez Blake, José María Sicilia, Thu Van Tran, and Xie Lei

Brussels gallery Meessen returns to ARCOmadrid with a tightly curated presentation spanning six artists from its program. Two—Ignasi Aballí, who represented Spain at the 2022 Venice Biennale, and Xie Lei, the latest recipient of the Prix Marcel Duchamp, also appeared in the gallery’s booth last year.

“The idea is to have a strong, fresh proposal,” said gallerist Olivier Meessen, achieved through “a balance between conceptual art with Aballí or some pieces by Jorge Méndez Blake, and other works more related to material, like José María Sicilia, or aesthetics, like Xie Lei.”

Colors of grey, 2025
Thu Van Tran
Meessen

Petit roman sans titre, 2025
Thu Van Tran
Meessen

Petit roman sans titre, 2025
Thu Van Tran
Meessen

Les couleurs du gris, 2023
Thu Van Tran
Meessen

Les couleurs du gris, 2024
Thu Van Tran
Meessen

Petit roman sans titre, 2025
Thu Van Tran
Meessen

In the Fall, in the Rise, 2017-2025
Thu Van Tran
Meessen

Exit highway, 2021
Robert Devriendt
Meessen

Fête galante, 2022 -2023
Robert Devriendt
Meessen

Exit highway, 2022 -2024
Robert Devriendt
Meessen

Light on Light, 2019
José María Sicilia
Meessen

Silenced Kafka (Inside), 2025
Jorge Méndez Blake
Meessen

Untitled (Door Knocker) I, 2025
Jorge Méndez Blake
Meessen

Untitled (Door Knocker) II, 2025
Jorge Méndez Blake
Meessen

From an Unfinished Work (Casse-pipe), 2025
Jorge Méndez Blake
Meessen

From an Unfinished Poem (Constantine Cavafy. My Soul Was on My Lips), 2025
Jorge Méndez Blake
Meessen

Teal walls erected at the center of the booth create a quieter enclave—“when you’re inside, you’re a bit kept from the surroundings and from the noise,” Meessen noted. There, Méndez Blake’s installation From an Unfinished Work (Casse-pipe) (2025) unfolds across the floor: 100 crumpled “sheets of paper”—silkscreens on aluminum—clustered together.

On the other side of the teal partition hangs Robert Devriendt’s hyperrealist polyptych Exit highway (2022–24). Its fragmented scenes—roadway, hiking boots, a jacket, a woman glancing askance, underwear abandoned in the woods—form an elliptical narrative across multiple canvases. “What I like is the void between each canvas,” Meessen said, likening the work’s eerie undercurrent to something Lynchian.

carlier | gebauer

Booth 9B08

With works by Anna Bella Geiger, Luis Gordillo, Philip Guston, Arturo Herrera, Iman Issa, Tarik Kiswanson, Julie Mehretu, Laure Prouvost, Jessica Rankin, Leonor Serrano Rivas, Nida Sinnokrot, Ian Waelder

Spanish artist Leonor Serrano Rivas’s work announces itself before it comes into view at Berlin and Madrid gallery carlier | gebauer’s booth: The steady sound of dripping water leads visitors to A Freshwater Serpent (2026), a newly completed sculpture-fountain in which water circulates and spills onto the booth’s floor.

Serrano Rivas explores “the relationship between science, magic, [and] nature,” noted artist liaison Alberto Arribas Rufes. Electroformed flowers—real plants submerged in electrolytic baths to form a metallic skin—rise from a metal base, nearly eclipsing the artist’s Patrones de ritmo (2025) behind it, a vibrant jacquard depicting Venice’s sunken lagoons.

Human Showcase, 2025
Erik Schmidt
carlier | gebauer

Background Vehicle (Running Scene), 2025
Ian Waelder
carlier | gebauer

All Of My Shoes (Tempo), 2025
Ian Waelder
carlier | gebauer

Variations of a Shoe (Clock), 2025
Ian Waelder
carlier | gebauer

Breather, 2025
Ian Waelder
carlier | gebauer

Man by Clock, 2024
Iman Issa
carlier | gebauer