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Eliza Kurazova
Imagine entering a room in Venice, one of the most storied art cities in the world, and feeling the artwork before you even discover it. Before the film begins, before your eyes adjust to the darkness of the installation, a scent reaches you first: warm, intimate, strangely familiar. You are inside Pendulum, the new immersive work by Manuel Mathieu at the 61st International Art Exhibition of the Venice Biennale, and you have already understood something language has not yet given you words for. That is precisely the point.
Manuel Mathieu is a multidisciplinary contemporary artist whose practice spans painting, sculpture, film and, more recently, olfactory work, shaped by a precise understanding of the specific capacities and limits of each medium.He is one of the very few artists invited to exhibit in both the Arsenale and the Giardini, the two principal venues of the @labiennale . In the Arsenale, he presents an immersive installation anchored by Pendulum (2023), his award-winning short film, extended into space through life-size fabric figures and an olfactory diffusion system that permeates the room. In the Giardini, he presents a selection of paintings, ceramics and mosaics, including recent works such as Self Preservation(2025), The Veil (2025), La fenêtre (2025) and GENOCIDE (2026).
This week, we spoke with @manuelmathieu about his presentation at the 61st Venice Biennale and the evolution of his practice that moves between painting, film, installation and olfactory work.
Story now live. Link in bio 📝
Imagine entering a room in Venice, one of the most storied art cities in the world, and feeling the artwork before you even discover it. Before the film begins, before your eyes adjust to the darkness of the installation, a scent reaches you first: warm, intimate, strangely familiar. You are inside Pendulum, the new immersive work by Manuel Mathieu at the 61st International Art Exhibition of the Venice Biennale, and you have already understood something language has not yet given you words for. That is precisely the point.
Manuel Mathieu is a multidisciplinary contemporary artist whose practice spans painting, sculpture, film and, more recently, olfactory work, shaped by a precise understanding of the specific capacities and limits of each medium.He is one of the very few artists invited to exhibit in both the Arsenale and the Giardini, the two principal venues of the @labiennale . In the Arsenale, he presents an immersive installation anchored by Pendulum (2023), his award-winning short film, extended into space through life-size fabric figures and an olfactory diffusion system that permeates the room. In the Giardini, he presents a selection of paintings, ceramics and mosaics, including recent works such as Self Preservation(2025), The Veil (2025), La fenêtre (2025) and GENOCIDE (2026).
This week, we spoke with @manuelmathieu about his presentation at the 61st Venice Biennale and the evolution of his practice that moves between painting, film, installation and olfactory work.
Story now live. Link in bio 📝
Imagine entering a room in Venice, one of the most storied art cities in the world, and feeling the artwork before you even discover it. Before the film begins, before your eyes adjust to the darkness of the installation, a scent reaches you first: warm, intimate, strangely familiar. You are inside Pendulum, the new immersive work by Manuel Mathieu at the 61st International Art Exhibition of the Venice Biennale, and you have already understood something language has not yet given you words for. That is precisely the point.
Manuel Mathieu is a multidisciplinary contemporary artist whose practice spans painting, sculpture, film and, more recently, olfactory work, shaped by a precise understanding of the specific capacities and limits of each medium.He is one of the very few artists invited to exhibit in both the Arsenale and the Giardini, the two principal venues of the @labiennale . In the Arsenale, he presents an immersive installation anchored by Pendulum (2023), his award-winning short film, extended into space through life-size fabric figures and an olfactory diffusion system that permeates the room. In the Giardini, he presents a selection of paintings, ceramics and mosaics, including recent works such as Self Preservation(2025), The Veil (2025), La fenêtre (2025) and GENOCIDE (2026).
This week, we spoke with @manuelmathieu about his presentation at the 61st Venice Biennale and the evolution of his practice that moves between painting, film, installation and olfactory work.
Story now live. Link in bio 📝
Imagine entering a room in Venice, one of the most storied art cities in the world, and feeling the artwork before you even discover it. Before the film begins, before your eyes adjust to the darkness of the installation, a scent reaches you first: warm, intimate, strangely familiar. You are inside Pendulum, the new immersive work by Manuel Mathieu at the 61st International Art Exhibition of the Venice Biennale, and you have already understood something language has not yet given you words for. That is precisely the point.
Manuel Mathieu is a multidisciplinary contemporary artist whose practice spans painting, sculpture, film and, more recently, olfactory work, shaped by a precise understanding of the specific capacities and limits of each medium.He is one of the very few artists invited to exhibit in both the Arsenale and the Giardini, the two principal venues of the @labiennale . In the Arsenale, he presents an immersive installation anchored by Pendulum (2023), his award-winning short film, extended into space through life-size fabric figures and an olfactory diffusion system that permeates the room. In the Giardini, he presents a selection of paintings, ceramics and mosaics, including recent works such as Self Preservation(2025), The Veil (2025), La fenêtre (2025) and GENOCIDE (2026).
This week, we spoke with @manuelmathieu about his presentation at the 61st Venice Biennale and the evolution of his practice that moves between painting, film, installation and olfactory work.
Story now live. Link in bio 📝
Imagine entering a room in Venice, one of the most storied art cities in the world, and feeling the artwork before you even discover it. Before the film begins, before your eyes adjust to the darkness of the installation, a scent reaches you first: warm, intimate, strangely familiar. You are inside Pendulum, the new immersive work by Manuel Mathieu at the 61st International Art Exhibition of the Venice Biennale, and you have already understood something language has not yet given you words for. That is precisely the point.
Manuel Mathieu is a multidisciplinary contemporary artist whose practice spans painting, sculpture, film and, more recently, olfactory work, shaped by a precise understanding of the specific capacities and limits of each medium.He is one of the very few artists invited to exhibit in both the Arsenale and the Giardini, the two principal venues of the @labiennale . In the Arsenale, he presents an immersive installation anchored by Pendulum (2023), his award-winning short film, extended into space through life-size fabric figures and an olfactory diffusion system that permeates the room. In the Giardini, he presents a selection of paintings, ceramics and mosaics, including recent works such as Self Preservation(2025), The Veil (2025), La fenêtre (2025) and GENOCIDE (2026).
This week, we spoke with @manuelmathieu about his presentation at the 61st Venice Biennale and the evolution of his practice that moves between painting, film, installation and olfactory work.
Story now live. Link in bio 📝
Imagine entering a room in Venice, one of the most storied art cities in the world, and feeling the artwork before you even discover it. Before the film begins, before your eyes adjust to the darkness of the installation, a scent reaches you first: warm, intimate, strangely familiar. You are inside Pendulum, the new immersive work by Manuel Mathieu at the 61st International Art Exhibition of the Venice Biennale, and you have already understood something language has not yet given you words for. That is precisely the point.
Manuel Mathieu is a multidisciplinary contemporary artist whose practice spans painting, sculpture, film and, more recently, olfactory work, shaped by a precise understanding of the specific capacities and limits of each medium.He is one of the very few artists invited to exhibit in both the Arsenale and the Giardini, the two principal venues of the @labiennale . In the Arsenale, he presents an immersive installation anchored by Pendulum (2023), his award-winning short film, extended into space through life-size fabric figures and an olfactory diffusion system that permeates the room. In the Giardini, he presents a selection of paintings, ceramics and mosaics, including recent works such as Self Preservation(2025), The Veil (2025), La fenêtre (2025) and GENOCIDE (2026).
This week, we spoke with @manuelmathieu about his presentation at the 61st Venice Biennale and the evolution of his practice that moves between painting, film, installation and olfactory work.
Story now live. Link in bio 📝
Imagine entering a room in Venice, one of the most storied art cities in the world, and feeling the artwork before you even discover it. Before the film begins, before your eyes adjust to the darkness of the installation, a scent reaches you first: warm, intimate, strangely familiar. You are inside Pendulum, the new immersive work by Manuel Mathieu at the 61st International Art Exhibition of the Venice Biennale, and you have already understood something language has not yet given you words for. That is precisely the point.
Manuel Mathieu is a multidisciplinary contemporary artist whose practice spans painting, sculpture, film and, more recently, olfactory work, shaped by a precise understanding of the specific capacities and limits of each medium.He is one of the very few artists invited to exhibit in both the Arsenale and the Giardini, the two principal venues of the @labiennale . In the Arsenale, he presents an immersive installation anchored by Pendulum (2023), his award-winning short film, extended into space through life-size fabric figures and an olfactory diffusion system that permeates the room. In the Giardini, he presents a selection of paintings, ceramics and mosaics, including recent works such as Self Preservation(2025), The Veil (2025), La fenêtre (2025) and GENOCIDE (2026).
This week, we spoke with @manuelmathieu about his presentation at the 61st Venice Biennale and the evolution of his practice that moves between painting, film, installation and olfactory work.
Story now live. Link in bio 📝
Imagine entering a room in Venice, one of the most storied art cities in the world, and feeling the artwork before you even discover it. Before the film begins, before your eyes adjust to the darkness of the installation, a scent reaches you first: warm, intimate, strangely familiar. You are inside Pendulum, the new immersive work by Manuel Mathieu at the 61st International Art Exhibition of the Venice Biennale, and you have already understood something language has not yet given you words for. That is precisely the point.
Manuel Mathieu is a multidisciplinary contemporary artist whose practice spans painting, sculpture, film and, more recently, olfactory work, shaped by a precise understanding of the specific capacities and limits of each medium.He is one of the very few artists invited to exhibit in both the Arsenale and the Giardini, the two principal venues of the @labiennale . In the Arsenale, he presents an immersive installation anchored by Pendulum (2023), his award-winning short film, extended into space through life-size fabric figures and an olfactory diffusion system that permeates the room. In the Giardini, he presents a selection of paintings, ceramics and mosaics, including recent works such as Self Preservation(2025), The Veil (2025), La fenêtre (2025) and GENOCIDE (2026).
This week, we spoke with @manuelmathieu about his presentation at the 61st Venice Biennale and the evolution of his practice that moves between painting, film, installation and olfactory work.
Story now live. Link in bio 📝
Imagine entering a room in Venice, one of the most storied art cities in the world, and feeling the artwork before you even discover it. Before the film begins, before your eyes adjust to the darkness of the installation, a scent reaches you first: warm, intimate, strangely familiar. You are inside Pendulum, the new immersive work by Manuel Mathieu at the 61st International Art Exhibition of the Venice Biennale, and you have already understood something language has not yet given you words for. That is precisely the point.
Manuel Mathieu is a multidisciplinary contemporary artist whose practice spans painting, sculpture, film and, more recently, olfactory work, shaped by a precise understanding of the specific capacities and limits of each medium.He is one of the very few artists invited to exhibit in both the Arsenale and the Giardini, the two principal venues of the @labiennale . In the Arsenale, he presents an immersive installation anchored by Pendulum (2023), his award-winning short film, extended into space through life-size fabric figures and an olfactory diffusion system that permeates the room. In the Giardini, he presents a selection of paintings, ceramics and mosaics, including recent works such as Self Preservation(2025), The Veil (2025), La fenêtre (2025) and GENOCIDE (2026).
This week, we spoke with @manuelmathieu about his presentation at the 61st Venice Biennale and the evolution of his practice that moves between painting, film, installation and olfactory work.
Story now live. Link in bio 📝
$724M. 20 years. 45 curators. One museum.
Today, the #DavidGeffenGalleries open at LACMA and it’s unlike any museum you have been to. @peterzumthorarchitecture the Swiss architect who almost never builds in cities, just completed his first-ever building in the United States. A 900-foot concrete structure that literally floats above Wilshire Boulevard, opening 3.5 acres of public space beneath it. But the architecture is not even the most radical part!
No more « European painting » room, no more chronological corridor through history. Instead, 45 curators organised 155,000 works across 6,000 years around four bodies of water: the Pacific, Atlantic, Indian Ocean, and the Mediterranean. The idea: cultures were never isolated. They have always been connected through the sea and exchange. The result is a museum where a Japanese textile might hang next to a West African sculpture next to an Andean vessel because they were all shaped by the same trade routes. New commissions by #ToddGray, #DoHoSuh and #LaurenHalsey are woven throughout.
6,000 years of art. Reorganized around the ocean. Open today 💌
@lacma
$724M. 20 years. 45 curators. One museum.
Today, the #DavidGeffenGalleries open at LACMA and it’s unlike any museum you have been to. @peterzumthorarchitecture the Swiss architect who almost never builds in cities, just completed his first-ever building in the United States. A 900-foot concrete structure that literally floats above Wilshire Boulevard, opening 3.5 acres of public space beneath it. But the architecture is not even the most radical part!
No more « European painting » room, no more chronological corridor through history. Instead, 45 curators organised 155,000 works across 6,000 years around four bodies of water: the Pacific, Atlantic, Indian Ocean, and the Mediterranean. The idea: cultures were never isolated. They have always been connected through the sea and exchange. The result is a museum where a Japanese textile might hang next to a West African sculpture next to an Andean vessel because they were all shaped by the same trade routes. New commissions by #ToddGray, #DoHoSuh and #LaurenHalsey are woven throughout.
6,000 years of art. Reorganized around the ocean. Open today 💌
@lacma
$724M. 20 years. 45 curators. One museum.
Today, the #DavidGeffenGalleries open at LACMA and it’s unlike any museum you have been to. @peterzumthorarchitecture the Swiss architect who almost never builds in cities, just completed his first-ever building in the United States. A 900-foot concrete structure that literally floats above Wilshire Boulevard, opening 3.5 acres of public space beneath it. But the architecture is not even the most radical part!
No more « European painting » room, no more chronological corridor through history. Instead, 45 curators organised 155,000 works across 6,000 years around four bodies of water: the Pacific, Atlantic, Indian Ocean, and the Mediterranean. The idea: cultures were never isolated. They have always been connected through the sea and exchange. The result is a museum where a Japanese textile might hang next to a West African sculpture next to an Andean vessel because they were all shaped by the same trade routes. New commissions by #ToddGray, #DoHoSuh and #LaurenHalsey are woven throughout.
6,000 years of art. Reorganized around the ocean. Open today 💌
@lacma
$724M. 20 years. 45 curators. One museum.
Today, the #DavidGeffenGalleries open at LACMA and it’s unlike any museum you have been to. @peterzumthorarchitecture the Swiss architect who almost never builds in cities, just completed his first-ever building in the United States. A 900-foot concrete structure that literally floats above Wilshire Boulevard, opening 3.5 acres of public space beneath it. But the architecture is not even the most radical part!
No more « European painting » room, no more chronological corridor through history. Instead, 45 curators organised 155,000 works across 6,000 years around four bodies of water: the Pacific, Atlantic, Indian Ocean, and the Mediterranean. The idea: cultures were never isolated. They have always been connected through the sea and exchange. The result is a museum where a Japanese textile might hang next to a West African sculpture next to an Andean vessel because they were all shaped by the same trade routes. New commissions by #ToddGray, #DoHoSuh and #LaurenHalsey are woven throughout.
6,000 years of art. Reorganized around the ocean. Open today 💌
@lacma
$724M. 20 years. 45 curators. One museum.
Today, the #DavidGeffenGalleries open at LACMA and it’s unlike any museum you have been to. @peterzumthorarchitecture the Swiss architect who almost never builds in cities, just completed his first-ever building in the United States. A 900-foot concrete structure that literally floats above Wilshire Boulevard, opening 3.5 acres of public space beneath it. But the architecture is not even the most radical part!
No more « European painting » room, no more chronological corridor through history. Instead, 45 curators organised 155,000 works across 6,000 years around four bodies of water: the Pacific, Atlantic, Indian Ocean, and the Mediterranean. The idea: cultures were never isolated. They have always been connected through the sea and exchange. The result is a museum where a Japanese textile might hang next to a West African sculpture next to an Andean vessel because they were all shaped by the same trade routes. New commissions by #ToddGray, #DoHoSuh and #LaurenHalsey are woven throughout.
6,000 years of art. Reorganized around the ocean. Open today 💌
@lacma
$724M. 20 years. 45 curators. One museum.
Today, the #DavidGeffenGalleries open at LACMA and it’s unlike any museum you have been to. @peterzumthorarchitecture the Swiss architect who almost never builds in cities, just completed his first-ever building in the United States. A 900-foot concrete structure that literally floats above Wilshire Boulevard, opening 3.5 acres of public space beneath it. But the architecture is not even the most radical part!
No more « European painting » room, no more chronological corridor through history. Instead, 45 curators organised 155,000 works across 6,000 years around four bodies of water: the Pacific, Atlantic, Indian Ocean, and the Mediterranean. The idea: cultures were never isolated. They have always been connected through the sea and exchange. The result is a museum where a Japanese textile might hang next to a West African sculpture next to an Andean vessel because they were all shaped by the same trade routes. New commissions by #ToddGray, #DoHoSuh and #LaurenHalsey are woven throughout.
6,000 years of art. Reorganized around the ocean. Open today 💌
@lacma
$724M. 20 years. 45 curators. One museum.
Today, the #DavidGeffenGalleries open at LACMA and it’s unlike any museum you have been to. @peterzumthorarchitecture the Swiss architect who almost never builds in cities, just completed his first-ever building in the United States. A 900-foot concrete structure that literally floats above Wilshire Boulevard, opening 3.5 acres of public space beneath it. But the architecture is not even the most radical part!
No more « European painting » room, no more chronological corridor through history. Instead, 45 curators organised 155,000 works across 6,000 years around four bodies of water: the Pacific, Atlantic, Indian Ocean, and the Mediterranean. The idea: cultures were never isolated. They have always been connected through the sea and exchange. The result is a museum where a Japanese textile might hang next to a West African sculpture next to an Andean vessel because they were all shaped by the same trade routes. New commissions by #ToddGray, #DoHoSuh and #LaurenHalsey are woven throughout.
6,000 years of art. Reorganized around the ocean. Open today 💌
@lacma
$724M. 20 years. 45 curators. One museum.
Today, the #DavidGeffenGalleries open at LACMA and it’s unlike any museum you have been to. @peterzumthorarchitecture the Swiss architect who almost never builds in cities, just completed his first-ever building in the United States. A 900-foot concrete structure that literally floats above Wilshire Boulevard, opening 3.5 acres of public space beneath it. But the architecture is not even the most radical part!
No more « European painting » room, no more chronological corridor through history. Instead, 45 curators organised 155,000 works across 6,000 years around four bodies of water: the Pacific, Atlantic, Indian Ocean, and the Mediterranean. The idea: cultures were never isolated. They have always been connected through the sea and exchange. The result is a museum where a Japanese textile might hang next to a West African sculpture next to an Andean vessel because they were all shaped by the same trade routes. New commissions by #ToddGray, #DoHoSuh and #LaurenHalsey are woven throughout.
6,000 years of art. Reorganized around the ocean. Open today 💌
@lacma
Everyone is talking about @traceyeminstudio right now. And they should be!
From “My Bed” to neon confessions, Tracey Emin has built a career where vulnerability becomes legacy. Her retrospective at @tate opened in February with 40 years of work, 100+ pieces, five-star reviews from critics and collectors. The enfant terrible of the 90s is now, officially, a national treasure.
And today, in Paris, one of her most intimate works goes to auction at Artcurial.
She wrote it in her own handwriting.
Then bent it into neon.
Then someone bought it on Valentine’s Day 💌
My Heart Is With You, And I Love You, Always Always Always (2006) by Tracey Emin, blue neon, edition 2/3.
@artcurial__ @isauredevielcastel
Details of Art Paris 2026 💌
Really happy to share my first published article in the Art Issue - Art in Paris for @technikart_mag
Thank you #LoïcLeGall @cesar.levy1 @193gallery who contributed their words and perspectives to this piece, and to the amazing team of the magazine for the trust! @technikart_mag @laurenceremila @malnuittt
@artparisartfair
Details of Art Paris 2026 💌
Really happy to share my first published article in the Art Issue - Art in Paris for @technikart_mag
Thank you #LoïcLeGall @cesar.levy1 @193gallery who contributed their words and perspectives to this piece, and to the amazing team of the magazine for the trust! @technikart_mag @laurenceremila @malnuittt
@artparisartfair
Details of Art Paris 2026 💌
Really happy to share my first published article in the Art Issue - Art in Paris for @technikart_mag
Thank you #LoïcLeGall @cesar.levy1 @193gallery who contributed their words and perspectives to this piece, and to the amazing team of the magazine for the trust! @technikart_mag @laurenceremila @malnuittt
@artparisartfair
Details of Art Paris 2026 💌
Really happy to share my first published article in the Art Issue - Art in Paris for @technikart_mag
Thank you #LoïcLeGall @cesar.levy1 @193gallery who contributed their words and perspectives to this piece, and to the amazing team of the magazine for the trust! @technikart_mag @laurenceremila @malnuittt
@artparisartfair
Details of Art Paris 2026 💌
Really happy to share my first published article in the Art Issue - Art in Paris for @technikart_mag
Thank you #LoïcLeGall @cesar.levy1 @193gallery who contributed their words and perspectives to this piece, and to the amazing team of the magazine for the trust! @technikart_mag @laurenceremila @malnuittt
@artparisartfair
Details of Art Paris 2026 💌
Really happy to share my first published article in the Art Issue - Art in Paris for @technikart_mag
Thank you #LoïcLeGall @cesar.levy1 @193gallery who contributed their words and perspectives to this piece, and to the amazing team of the magazine for the trust! @technikart_mag @laurenceremila @malnuittt
@artparisartfair
Details of Art Paris 2026 💌
Really happy to share my first published article in the Art Issue - Art in Paris for @technikart_mag
Thank you #LoïcLeGall @cesar.levy1 @193gallery who contributed their words and perspectives to this piece, and to the amazing team of the magazine for the trust! @technikart_mag @laurenceremila @malnuittt
@artparisartfair
Details of Art Paris 2026 💌
Really happy to share my first published article in the Art Issue - Art in Paris for @technikart_mag
Thank you #LoïcLeGall @cesar.levy1 @193gallery who contributed their words and perspectives to this piece, and to the amazing team of the magazine for the trust! @technikart_mag @laurenceremila @malnuittt
@artparisartfair
Details of Art Paris 2026 💌
Really happy to share my first published article in the Art Issue - Art in Paris for @technikart_mag
Thank you #LoïcLeGall @cesar.levy1 @193gallery who contributed their words and perspectives to this piece, and to the amazing team of the magazine for the trust! @technikart_mag @laurenceremila @malnuittt
@artparisartfair
Details of Art Paris 2026 💌
Really happy to share my first published article in the Art Issue - Art in Paris for @technikart_mag
Thank you #LoïcLeGall @cesar.levy1 @193gallery who contributed their words and perspectives to this piece, and to the amazing team of the magazine for the trust! @technikart_mag @laurenceremila @malnuittt
@artparisartfair
“The Serpentine holds such an important place in the hearts of the public and that’s what makes it so exciting to be showing my work here. As a young art student in London I loved to visit, and saw exhibitions there that influenced me enormously. It’s a huge honour to be having my first institutional show in London at a site so full of memories but that is still so exciting and unique today.” - Cecily Brown
@cecilybrown_studio @serpentineuk @bukhmanfoundation @griffincatalyst
“The Serpentine holds such an important place in the hearts of the public and that’s what makes it so exciting to be showing my work here. As a young art student in London I loved to visit, and saw exhibitions there that influenced me enormously. It’s a huge honour to be having my first institutional show in London at a site so full of memories but that is still so exciting and unique today.” - Cecily Brown
@cecilybrown_studio @serpentineuk @bukhmanfoundation @griffincatalyst
“The Serpentine holds such an important place in the hearts of the public and that’s what makes it so exciting to be showing my work here. As a young art student in London I loved to visit, and saw exhibitions there that influenced me enormously. It’s a huge honour to be having my first institutional show in London at a site so full of memories but that is still so exciting and unique today.” - Cecily Brown
@cecilybrown_studio @serpentineuk @bukhmanfoundation @griffincatalyst
“The Serpentine holds such an important place in the hearts of the public and that’s what makes it so exciting to be showing my work here. As a young art student in London I loved to visit, and saw exhibitions there that influenced me enormously. It’s a huge honour to be having my first institutional show in London at a site so full of memories but that is still so exciting and unique today.” - Cecily Brown
@cecilybrown_studio @serpentineuk @bukhmanfoundation @griffincatalyst
“The Serpentine holds such an important place in the hearts of the public and that’s what makes it so exciting to be showing my work here. As a young art student in London I loved to visit, and saw exhibitions there that influenced me enormously. It’s a huge honour to be having my first institutional show in London at a site so full of memories but that is still so exciting and unique today.” - Cecily Brown
@cecilybrown_studio @serpentineuk @bukhmanfoundation @griffincatalyst
“The Serpentine holds such an important place in the hearts of the public and that’s what makes it so exciting to be showing my work here. As a young art student in London I loved to visit, and saw exhibitions there that influenced me enormously. It’s a huge honour to be having my first institutional show in London at a site so full of memories but that is still so exciting and unique today.” - Cecily Brown
@cecilybrown_studio @serpentineuk @bukhmanfoundation @griffincatalyst
“The Serpentine holds such an important place in the hearts of the public and that’s what makes it so exciting to be showing my work here. As a young art student in London I loved to visit, and saw exhibitions there that influenced me enormously. It’s a huge honour to be having my first institutional show in London at a site so full of memories but that is still so exciting and unique today.” - Cecily Brown
@cecilybrown_studio @serpentineuk @bukhmanfoundation @griffincatalyst
“The Serpentine holds such an important place in the hearts of the public and that’s what makes it so exciting to be showing my work here. As a young art student in London I loved to visit, and saw exhibitions there that influenced me enormously. It’s a huge honour to be having my first institutional show in London at a site so full of memories but that is still so exciting and unique today.” - Cecily Brown
@cecilybrown_studio @serpentineuk @bukhmanfoundation @griffincatalyst
The greatest scenography is the kind you never notice. You notice the Basquiat, the fever of it, the words broken open like wounds across the canvas. You notice the way a George Condo holds two realities at once, his figures lurching between comedy and catastrophe. None of it happens by accident. The rhythm of the walls, the calibration of the distance, the silence placed around each work so that it could speak at full intensity: each is a decision, and each decision belongs to @ceciledegos and her art of scenography.
For nearly thirty years, Cécile Degos has been designing the conditions under which we encounter some of the most significant art of our time. At the Musée d’Art Moderne de Paris alone, she staged the Basquiat retrospective, awarded the Globe de Cristal, then L’Art en Guerre, awarded the Historia and El País prizes before travelling to the Guggenheim Bilbao, and most recently the George Condo retrospective, nearly eighty paintings, a hundred and ten drawings, twenty sculptures, a show demanding its own spatial language for one of the most psychologically charged bodies of work in contemporary art.
This week, we visited “Face au Ciel. Paul Huet en son temps” at @museedelavieromantique alongside Cécile Degos, walking through the galleries she designed room by room, and sat down with her to talk about:
- the art of scenography,
- the discipline of spatial restraint,
- what it means for her to build an experience that makes people put their phones away.
📝 Story now live. Link in bio
The greatest scenography is the kind you never notice. You notice the Basquiat, the fever of it, the words broken open like wounds across the canvas. You notice the way a George Condo holds two realities at once, his figures lurching between comedy and catastrophe. None of it happens by accident. The rhythm of the walls, the calibration of the distance, the silence placed around each work so that it could speak at full intensity: each is a decision, and each decision belongs to @ceciledegos and her art of scenography.
For nearly thirty years, Cécile Degos has been designing the conditions under which we encounter some of the most significant art of our time. At the Musée d’Art Moderne de Paris alone, she staged the Basquiat retrospective, awarded the Globe de Cristal, then L’Art en Guerre, awarded the Historia and El País prizes before travelling to the Guggenheim Bilbao, and most recently the George Condo retrospective, nearly eighty paintings, a hundred and ten drawings, twenty sculptures, a show demanding its own spatial language for one of the most psychologically charged bodies of work in contemporary art.
This week, we visited “Face au Ciel. Paul Huet en son temps” at @museedelavieromantique alongside Cécile Degos, walking through the galleries she designed room by room, and sat down with her to talk about:
- the art of scenography,
- the discipline of spatial restraint,
- what it means for her to build an experience that makes people put their phones away.
📝 Story now live. Link in bio
The greatest scenography is the kind you never notice. You notice the Basquiat, the fever of it, the words broken open like wounds across the canvas. You notice the way a George Condo holds two realities at once, his figures lurching between comedy and catastrophe. None of it happens by accident. The rhythm of the walls, the calibration of the distance, the silence placed around each work so that it could speak at full intensity: each is a decision, and each decision belongs to @ceciledegos and her art of scenography.
For nearly thirty years, Cécile Degos has been designing the conditions under which we encounter some of the most significant art of our time. At the Musée d’Art Moderne de Paris alone, she staged the Basquiat retrospective, awarded the Globe de Cristal, then L’Art en Guerre, awarded the Historia and El País prizes before travelling to the Guggenheim Bilbao, and most recently the George Condo retrospective, nearly eighty paintings, a hundred and ten drawings, twenty sculptures, a show demanding its own spatial language for one of the most psychologically charged bodies of work in contemporary art.
This week, we visited “Face au Ciel. Paul Huet en son temps” at @museedelavieromantique alongside Cécile Degos, walking through the galleries she designed room by room, and sat down with her to talk about:
- the art of scenography,
- the discipline of spatial restraint,
- what it means for her to build an experience that makes people put their phones away.
📝 Story now live. Link in bio
The greatest scenography is the kind you never notice. You notice the Basquiat, the fever of it, the words broken open like wounds across the canvas. You notice the way a George Condo holds two realities at once, his figures lurching between comedy and catastrophe. None of it happens by accident. The rhythm of the walls, the calibration of the distance, the silence placed around each work so that it could speak at full intensity: each is a decision, and each decision belongs to @ceciledegos and her art of scenography.
For nearly thirty years, Cécile Degos has been designing the conditions under which we encounter some of the most significant art of our time. At the Musée d’Art Moderne de Paris alone, she staged the Basquiat retrospective, awarded the Globe de Cristal, then L’Art en Guerre, awarded the Historia and El País prizes before travelling to the Guggenheim Bilbao, and most recently the George Condo retrospective, nearly eighty paintings, a hundred and ten drawings, twenty sculptures, a show demanding its own spatial language for one of the most psychologically charged bodies of work in contemporary art.
This week, we visited “Face au Ciel. Paul Huet en son temps” at @museedelavieromantique alongside Cécile Degos, walking through the galleries she designed room by room, and sat down with her to talk about:
- the art of scenography,
- the discipline of spatial restraint,
- what it means for her to build an experience that makes people put their phones away.
📝 Story now live. Link in bio
The greatest scenography is the kind you never notice. You notice the Basquiat, the fever of it, the words broken open like wounds across the canvas. You notice the way a George Condo holds two realities at once, his figures lurching between comedy and catastrophe. None of it happens by accident. The rhythm of the walls, the calibration of the distance, the silence placed around each work so that it could speak at full intensity: each is a decision, and each decision belongs to @ceciledegos and her art of scenography.
For nearly thirty years, Cécile Degos has been designing the conditions under which we encounter some of the most significant art of our time. At the Musée d’Art Moderne de Paris alone, she staged the Basquiat retrospective, awarded the Globe de Cristal, then L’Art en Guerre, awarded the Historia and El País prizes before travelling to the Guggenheim Bilbao, and most recently the George Condo retrospective, nearly eighty paintings, a hundred and ten drawings, twenty sculptures, a show demanding its own spatial language for one of the most psychologically charged bodies of work in contemporary art.
This week, we visited “Face au Ciel. Paul Huet en son temps” at @museedelavieromantique alongside Cécile Degos, walking through the galleries she designed room by room, and sat down with her to talk about:
- the art of scenography,
- the discipline of spatial restraint,
- what it means for her to build an experience that makes people put their phones away.
📝 Story now live. Link in bio
The greatest scenography is the kind you never notice. You notice the Basquiat, the fever of it, the words broken open like wounds across the canvas. You notice the way a George Condo holds two realities at once, his figures lurching between comedy and catastrophe. None of it happens by accident. The rhythm of the walls, the calibration of the distance, the silence placed around each work so that it could speak at full intensity: each is a decision, and each decision belongs to @ceciledegos and her art of scenography.
For nearly thirty years, Cécile Degos has been designing the conditions under which we encounter some of the most significant art of our time. At the Musée d’Art Moderne de Paris alone, she staged the Basquiat retrospective, awarded the Globe de Cristal, then L’Art en Guerre, awarded the Historia and El País prizes before travelling to the Guggenheim Bilbao, and most recently the George Condo retrospective, nearly eighty paintings, a hundred and ten drawings, twenty sculptures, a show demanding its own spatial language for one of the most psychologically charged bodies of work in contemporary art.
This week, we visited “Face au Ciel. Paul Huet en son temps” at @museedelavieromantique alongside Cécile Degos, walking through the galleries she designed room by room, and sat down with her to talk about:
- the art of scenography,
- the discipline of spatial restraint,
- what it means for her to build an experience that makes people put their phones away.
📝 Story now live. Link in bio
The greatest scenography is the kind you never notice. You notice the Basquiat, the fever of it, the words broken open like wounds across the canvas. You notice the way a George Condo holds two realities at once, his figures lurching between comedy and catastrophe. None of it happens by accident. The rhythm of the walls, the calibration of the distance, the silence placed around each work so that it could speak at full intensity: each is a decision, and each decision belongs to @ceciledegos and her art of scenography.
For nearly thirty years, Cécile Degos has been designing the conditions under which we encounter some of the most significant art of our time. At the Musée d’Art Moderne de Paris alone, she staged the Basquiat retrospective, awarded the Globe de Cristal, then L’Art en Guerre, awarded the Historia and El País prizes before travelling to the Guggenheim Bilbao, and most recently the George Condo retrospective, nearly eighty paintings, a hundred and ten drawings, twenty sculptures, a show demanding its own spatial language for one of the most psychologically charged bodies of work in contemporary art.
This week, we visited “Face au Ciel. Paul Huet en son temps” at @museedelavieromantique alongside Cécile Degos, walking through the galleries she designed room by room, and sat down with her to talk about:
- the art of scenography,
- the discipline of spatial restraint,
- what it means for her to build an experience that makes people put their phones away.
📝 Story now live. Link in bio
The greatest scenography is the kind you never notice. You notice the Basquiat, the fever of it, the words broken open like wounds across the canvas. You notice the way a George Condo holds two realities at once, his figures lurching between comedy and catastrophe. None of it happens by accident. The rhythm of the walls, the calibration of the distance, the silence placed around each work so that it could speak at full intensity: each is a decision, and each decision belongs to @ceciledegos and her art of scenography.
For nearly thirty years, Cécile Degos has been designing the conditions under which we encounter some of the most significant art of our time. At the Musée d’Art Moderne de Paris alone, she staged the Basquiat retrospective, awarded the Globe de Cristal, then L’Art en Guerre, awarded the Historia and El País prizes before travelling to the Guggenheim Bilbao, and most recently the George Condo retrospective, nearly eighty paintings, a hundred and ten drawings, twenty sculptures, a show demanding its own spatial language for one of the most psychologically charged bodies of work in contemporary art.
This week, we visited “Face au Ciel. Paul Huet en son temps” at @museedelavieromantique alongside Cécile Degos, walking through the galleries she designed room by room, and sat down with her to talk about:
- the art of scenography,
- the discipline of spatial restraint,
- what it means for her to build an experience that makes people put their phones away.
📝 Story now live. Link in bio
The greatest scenography is the kind you never notice. You notice the Basquiat, the fever of it, the words broken open like wounds across the canvas. You notice the way a George Condo holds two realities at once, his figures lurching between comedy and catastrophe. None of it happens by accident. The rhythm of the walls, the calibration of the distance, the silence placed around each work so that it could speak at full intensity: each is a decision, and each decision belongs to @ceciledegos and her art of scenography.
For nearly thirty years, Cécile Degos has been designing the conditions under which we encounter some of the most significant art of our time. At the Musée d’Art Moderne de Paris alone, she staged the Basquiat retrospective, awarded the Globe de Cristal, then L’Art en Guerre, awarded the Historia and El País prizes before travelling to the Guggenheim Bilbao, and most recently the George Condo retrospective, nearly eighty paintings, a hundred and ten drawings, twenty sculptures, a show demanding its own spatial language for one of the most psychologically charged bodies of work in contemporary art.
This week, we visited “Face au Ciel. Paul Huet en son temps” at @museedelavieromantique alongside Cécile Degos, walking through the galleries she designed room by room, and sat down with her to talk about:
- the art of scenography,
- the discipline of spatial restraint,
- what it means for her to build an experience that makes people put their phones away.
📝 Story now live. Link in bio
The greatest scenography is the kind you never notice. You notice the Basquiat, the fever of it, the words broken open like wounds across the canvas. You notice the way a George Condo holds two realities at once, his figures lurching between comedy and catastrophe. None of it happens by accident. The rhythm of the walls, the calibration of the distance, the silence placed around each work so that it could speak at full intensity: each is a decision, and each decision belongs to @ceciledegos and her art of scenography.
For nearly thirty years, Cécile Degos has been designing the conditions under which we encounter some of the most significant art of our time. At the Musée d’Art Moderne de Paris alone, she staged the Basquiat retrospective, awarded the Globe de Cristal, then L’Art en Guerre, awarded the Historia and El País prizes before travelling to the Guggenheim Bilbao, and most recently the George Condo retrospective, nearly eighty paintings, a hundred and ten drawings, twenty sculptures, a show demanding its own spatial language for one of the most psychologically charged bodies of work in contemporary art.
This week, we visited “Face au Ciel. Paul Huet en son temps” at @museedelavieromantique alongside Cécile Degos, walking through the galleries she designed room by room, and sat down with her to talk about:
- the art of scenography,
- the discipline of spatial restraint,
- what it means for her to build an experience that makes people put their phones away.
📝 Story now live. Link in bio
Details of “Hypnose” (2025) by Arghavan Khosravi
Iranian‑born painter @arghavan_khosravi builds her works from shaped, layered wood panels that extend her compositions into sculptural space, creating a multidimensional presence. Drawing on the visual language of Persian miniature tradition, her work explores identity, memory and movement across worlds.
Details of “Hypnose” (2025) by Arghavan Khosravi
Iranian‑born painter @arghavan_khosravi builds her works from shaped, layered wood panels that extend her compositions into sculptural space, creating a multidimensional presence. Drawing on the visual language of Persian miniature tradition, her work explores identity, memory and movement across worlds.
In 1972, Francis Bacon began one of the most important chapters of his career: the decade of self-portraiture.
After the death of his long-term partner George Dyer in 1971, Bacon increasingly turned to his own face as subject. He once said he painted himself because the people around him were “dying like flies”. Throughout the 1970s, he produced a concentrated group of self-portraits that are now considered central to understanding his psychological language of distortion.
Details of Francis Bacon, Self-Portrait, 1972, oil on canvas, offered at Sotheby’s Modern & Contemporary Evening Auction, London, March 4, 2026 💌
In the heart of Lisbon, at @maatmuseum “Notre Feu” by @isabelleferreira.studio is currently on view, offering an immersive exploration of memory, migration, and resilience. The exhibition traces the clandestine journeys of Portuguese migrants to France during the Salazar dictatorship of the 1960s. Experiencing “Notre Feu” firsthand, it becomes clear that the exhibition exemplifies a curatorial approach that honors the relational dimension of art, the narratives embedded in materials, and the intersection between audience, artist, and history, in this exhibition curated by @joanaprneves
Artistic director of @drawingnowparis , curator, creator and host of the podcast Exhibitionistas, and founder of the art residency Worlding, Neves views artworks not as static objects but as “relational, dynamic entities,” emphasizing the experience of creation, materials and narrative over the fetishization of objects.
This week, we spoke with Joana P.R. Neves about the art of curating as a practice of research and storytelling, from her work on Portuguese migration narratives at MAAT Museum to shaping Drawing Now Paris as a leading platform for contemporary drawing worldwide.
📝 Story now live. Link in bio
In the heart of Lisbon, at @maatmuseum “Notre Feu” by @isabelleferreira.studio is currently on view, offering an immersive exploration of memory, migration, and resilience. The exhibition traces the clandestine journeys of Portuguese migrants to France during the Salazar dictatorship of the 1960s. Experiencing “Notre Feu” firsthand, it becomes clear that the exhibition exemplifies a curatorial approach that honors the relational dimension of art, the narratives embedded in materials, and the intersection between audience, artist, and history, in this exhibition curated by @joanaprneves
Artistic director of @drawingnowparis , curator, creator and host of the podcast Exhibitionistas, and founder of the art residency Worlding, Neves views artworks not as static objects but as “relational, dynamic entities,” emphasizing the experience of creation, materials and narrative over the fetishization of objects.
This week, we spoke with Joana P.R. Neves about the art of curating as a practice of research and storytelling, from her work on Portuguese migration narratives at MAAT Museum to shaping Drawing Now Paris as a leading platform for contemporary drawing worldwide.
📝 Story now live. Link in bio
In the heart of Lisbon, at @maatmuseum “Notre Feu” by @isabelleferreira.studio is currently on view, offering an immersive exploration of memory, migration, and resilience. The exhibition traces the clandestine journeys of Portuguese migrants to France during the Salazar dictatorship of the 1960s. Experiencing “Notre Feu” firsthand, it becomes clear that the exhibition exemplifies a curatorial approach that honors the relational dimension of art, the narratives embedded in materials, and the intersection between audience, artist, and history, in this exhibition curated by @joanaprneves
Artistic director of @drawingnowparis , curator, creator and host of the podcast Exhibitionistas, and founder of the art residency Worlding, Neves views artworks not as static objects but as “relational, dynamic entities,” emphasizing the experience of creation, materials and narrative over the fetishization of objects.
This week, we spoke with Joana P.R. Neves about the art of curating as a practice of research and storytelling, from her work on Portuguese migration narratives at MAAT Museum to shaping Drawing Now Paris as a leading platform for contemporary drawing worldwide.
📝 Story now live. Link in bio
In the heart of Lisbon, at @maatmuseum “Notre Feu” by @isabelleferreira.studio is currently on view, offering an immersive exploration of memory, migration, and resilience. The exhibition traces the clandestine journeys of Portuguese migrants to France during the Salazar dictatorship of the 1960s. Experiencing “Notre Feu” firsthand, it becomes clear that the exhibition exemplifies a curatorial approach that honors the relational dimension of art, the narratives embedded in materials, and the intersection between audience, artist, and history, in this exhibition curated by @joanaprneves
Artistic director of @drawingnowparis , curator, creator and host of the podcast Exhibitionistas, and founder of the art residency Worlding, Neves views artworks not as static objects but as “relational, dynamic entities,” emphasizing the experience of creation, materials and narrative over the fetishization of objects.
This week, we spoke with Joana P.R. Neves about the art of curating as a practice of research and storytelling, from her work on Portuguese migration narratives at MAAT Museum to shaping Drawing Now Paris as a leading platform for contemporary drawing worldwide.
📝 Story now live. Link in bio
In the heart of Lisbon, at @maatmuseum “Notre Feu” by @isabelleferreira.studio is currently on view, offering an immersive exploration of memory, migration, and resilience. The exhibition traces the clandestine journeys of Portuguese migrants to France during the Salazar dictatorship of the 1960s. Experiencing “Notre Feu” firsthand, it becomes clear that the exhibition exemplifies a curatorial approach that honors the relational dimension of art, the narratives embedded in materials, and the intersection between audience, artist, and history, in this exhibition curated by @joanaprneves
Artistic director of @drawingnowparis , curator, creator and host of the podcast Exhibitionistas, and founder of the art residency Worlding, Neves views artworks not as static objects but as “relational, dynamic entities,” emphasizing the experience of creation, materials and narrative over the fetishization of objects.
This week, we spoke with Joana P.R. Neves about the art of curating as a practice of research and storytelling, from her work on Portuguese migration narratives at MAAT Museum to shaping Drawing Now Paris as a leading platform for contemporary drawing worldwide.
📝 Story now live. Link in bio
In the heart of Lisbon, at @maatmuseum “Notre Feu” by @isabelleferreira.studio is currently on view, offering an immersive exploration of memory, migration, and resilience. The exhibition traces the clandestine journeys of Portuguese migrants to France during the Salazar dictatorship of the 1960s. Experiencing “Notre Feu” firsthand, it becomes clear that the exhibition exemplifies a curatorial approach that honors the relational dimension of art, the narratives embedded in materials, and the intersection between audience, artist, and history, in this exhibition curated by @joanaprneves
Artistic director of @drawingnowparis , curator, creator and host of the podcast Exhibitionistas, and founder of the art residency Worlding, Neves views artworks not as static objects but as “relational, dynamic entities,” emphasizing the experience of creation, materials and narrative over the fetishization of objects.
This week, we spoke with Joana P.R. Neves about the art of curating as a practice of research and storytelling, from her work on Portuguese migration narratives at MAAT Museum to shaping Drawing Now Paris as a leading platform for contemporary drawing worldwide.
📝 Story now live. Link in bio
In the heart of Lisbon, at @maatmuseum “Notre Feu” by @isabelleferreira.studio is currently on view, offering an immersive exploration of memory, migration, and resilience. The exhibition traces the clandestine journeys of Portuguese migrants to France during the Salazar dictatorship of the 1960s. Experiencing “Notre Feu” firsthand, it becomes clear that the exhibition exemplifies a curatorial approach that honors the relational dimension of art, the narratives embedded in materials, and the intersection between audience, artist, and history, in this exhibition curated by @joanaprneves
Artistic director of @drawingnowparis , curator, creator and host of the podcast Exhibitionistas, and founder of the art residency Worlding, Neves views artworks not as static objects but as “relational, dynamic entities,” emphasizing the experience of creation, materials and narrative over the fetishization of objects.
This week, we spoke with Joana P.R. Neves about the art of curating as a practice of research and storytelling, from her work on Portuguese migration narratives at MAAT Museum to shaping Drawing Now Paris as a leading platform for contemporary drawing worldwide.
📝 Story now live. Link in bio
In the heart of Lisbon, at @maatmuseum “Notre Feu” by @isabelleferreira.studio is currently on view, offering an immersive exploration of memory, migration, and resilience. The exhibition traces the clandestine journeys of Portuguese migrants to France during the Salazar dictatorship of the 1960s. Experiencing “Notre Feu” firsthand, it becomes clear that the exhibition exemplifies a curatorial approach that honors the relational dimension of art, the narratives embedded in materials, and the intersection between audience, artist, and history, in this exhibition curated by @joanaprneves
Artistic director of @drawingnowparis , curator, creator and host of the podcast Exhibitionistas, and founder of the art residency Worlding, Neves views artworks not as static objects but as “relational, dynamic entities,” emphasizing the experience of creation, materials and narrative over the fetishization of objects.
This week, we spoke with Joana P.R. Neves about the art of curating as a practice of research and storytelling, from her work on Portuguese migration narratives at MAAT Museum to shaping Drawing Now Paris as a leading platform for contemporary drawing worldwide.
📝 Story now live. Link in bio
In the heart of Lisbon, at @maatmuseum “Notre Feu” by @isabelleferreira.studio is currently on view, offering an immersive exploration of memory, migration, and resilience. The exhibition traces the clandestine journeys of Portuguese migrants to France during the Salazar dictatorship of the 1960s. Experiencing “Notre Feu” firsthand, it becomes clear that the exhibition exemplifies a curatorial approach that honors the relational dimension of art, the narratives embedded in materials, and the intersection between audience, artist, and history, in this exhibition curated by @joanaprneves
Artistic director of @drawingnowparis , curator, creator and host of the podcast Exhibitionistas, and founder of the art residency Worlding, Neves views artworks not as static objects but as “relational, dynamic entities,” emphasizing the experience of creation, materials and narrative over the fetishization of objects.
This week, we spoke with Joana P.R. Neves about the art of curating as a practice of research and storytelling, from her work on Portuguese migration narratives at MAAT Museum to shaping Drawing Now Paris as a leading platform for contemporary drawing worldwide.
📝 Story now live. Link in bio
Story Save - Best free tool for saving Stories, Reels, Photos, Videos, Highlights, IGTV to your phone.
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