#arte-laguna-prize

#arte-laguna-prize

ROOM FOR DREAMS becomes a living manifesto for utopian optimism, creative courage, and the power of imagination through a multilayered approach where large scale installations, cinematic storytelling, live conversations, and ritual-driven encounters converge.

Lachlan Turczan's practice sits in the space between physics, optics, and environmental art, as he works with lasers, water, mist, and custom-built lenses to produce sculptures made entirely from light.

The project reconsiders the building as a layered architectural structure shaped by successive transformations, reorganizing these historical strata through a spatial strategy that prioritizes clarity, continuity, and flexibility.

Kamrooz Aram is everywhere this year, from Mumbai Art Week to the Whitney Biennial, and critic Aruna D'Souza is grateful. She pens a beautiful meditation on his work, reading his abstract paintings as not simply a denunciation of Western modernism nor a reassertion of Islamic visual motifs, but something else entirely - something gestural, exuberant, riotous, and incomparably his own.

Hong Kong's particular and seductive Metabolist city planning is an ode to consumption as a great totalizer of culture, and to contemporary art as merely a niche commodity form among many others.

Every terrible thing always begins in the prettiest weather. Cruelty loves a clear sky. . . . Every war starts on a perfect day. This opening number from Diane Severin Nguyen's War Songs captured the paradox of experiencing extraordinary art and cultural vitality while geopolitical crises unfold, setting the tone for the week's contradictions.

To drink, to bathe, to swim, water has been integral to every society, at every point in our relatively short history here on earth. We connect, drink, and extend ourselves over water, a lifegiving force whose polarity explains much of human behavior. Fostering this sense of community is vital to our health and happiness as well.

A circular concrete ring forms a defined boundary, incorporating a landing and three steps that lead into a contained field of refined sand. At the center of this ring rises a tall cone clad in polished mirrored steel. The composition establishes a clear geometric contrast between the horizontal plane of sand and the vertical reflective surface.

Sand Art is a game by Kory Jordan and published by 25th Century Games for two to four players ages 10 and up. It takes about an hour to play, and has you collecting resources and then coloring in a bottle, making art in a bottle out of sand, in case the name didn't give away the plot. Gameplay Overview: Sand Art has you gathering and mixing sand, which is used to fill your bottle.

The collection comprises , , and sculptural elements developed through repetition, modularity, and consistency. By working with standardized components, the project examines how structural logic can inform form, allowing typically concealed systems to become spatial and perceptible. Designed by Claudio Larcher and Sofia D'Andrea, the collection is based on metal drywall guides, technical profiles usually embedded within partition walls and left unseen. These industrial elements are extracted from their conventional context and reconfigured into objects with a linear and uniform architectural language.

Mexican architecture studio LANZA atelier, founded by Isabel Abascal and Alessandro Arienzo, is appointed to design the Serpentine Pavilion 2026. Titled 'a serpentine', the pavilion will open to the public on June 6th, 2026, at Serpentine South in London's Kensington Gardens. The announcement coincides with the Pavilion's 25th edition, which Serpentine will mark through a special collaboration with the Zaha Hadid Foundation, reflecting on the legacy of the inaugural pavilion designed by Hadid in 2000.

Baca, who was awarded the National Medal of Arts by former US president Joe Biden, is working with a team of artists to tell socially engaged stories on 12ft-tall panels. "I want to use public space to create ... consciousness about the presence of people who are often the majority of the population but who may not be represented in any visual way," she says.

This year's theme, 'New Directions,' ties the fair to the legacy of John Coltrane and Miles Davis, treating jazz as a working method rather than a metaphor. It's a balance of structure and freedom, shaped by listening to galleries, to collectors, and to the wider moment we're living through. The move to the South Wing at Allianz MiCo reinforces this approach with a more compact, layered layout that sparks encounters across works, media, and generations,

The 31st edition of the LA Art Show is back this week at the downtown Convention Center, more than a month before Frieze, Felix, and Post-Fair roll into town. Although it is LA's longest-running art fair, the show is somewhat of an outcast, snubbed as pedestrian, too commercial, and out of touch with the cutting edge of the global art world. But at the rear of the cavernous exhibition hall, a pair of projects organized by curator Marisa Caichiolo gives visitors a sense of the fair's cultural and political relevance.

Topped with a roof shaped like a crabshell, Le Corbusier's Chapelle Notre-Dame-du-Haut is a sanctuary amid the French mountainside. The 1955 construction rests atop a hill in Ronchamp, standing unobstructed by the otherwise forested inclines. As the sun rises and falls, light filters in through the mélange of rectangular windows tinted to cast streams of color around the space. The stained glass apertures of Le Corbusier's modernist chapel are a clear reference point for Luftwerk's "Open Frame."

While Armenia has long been recognized for its rich and storied historical art and culture, the country's contemporary art scene is emerging as one to watch on a global scale. Armenian artists stand out for their ability to synthesize their own cultural heritage with avant-garde approaches to contemporary artmaking, bridging tradition with self-expression. Paralleling broader rising critical and market interest and investment in regions outside of the West, ARAR Gallery of Utrecht, the Netherlands, is at the forefront of Armenian art's mounting international presence.