#marian-ziolkowski

#marian-ziolkowski

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.

Ivanna Maszczak was born in the village of Krupets to a Greek Orthodox priest and a teacher. She had a happy childhood surrounded by music, poetry, and lively discussions.

The care and attention to detail that is evident throughout the space, combined with the provenance of the hands that created it, marks Oficina Milanese as distinctly respectful and enduring of the surrounding streets.

The Featured section highlights projects in newly discovered locations, opening the city's art landscape to diverse, experimental and site-specific approaches.

Arising from meadow-like tall grasses is ABC's new socio-educational center, delivered last July. Despite appearances, it is no countryside landscape but a dive into the atypical Borny district of the French eastern city of Metz.

"These paintings merge the landscape and the intimacy of windows through the framing of the car, bridging the two realms I've typically explored separately. The car becomes a meditation on transition, on existing simultaneously here and elsewhere."

Its name, Dala, refers to the traditional wooden horse, dalahäst, which for centuries has been given during celebrations as a symbol of happiness and festivity. Just like the horse, the restaurant is meant to live by the rhythm of celebration, from everyday fika, through the summer festival of Midsommar, to evening gatherings in the spirit of mingel.

Of Lithuanian-Russian heritage, Panova's work is informed by that layered cultural inheritance as growing up between cultures has shaped her sensitivity to shifting narratives. Her work explores folklore, quiet, and images that feel suspended between past and present.

The new flagship showroom of Ukrainian brand Gunia Project occupies the ground floor of a late-19th-century building on a historic street near the Golden Gate where old Kyiv once began. After three months of careful searching, the chosen space revealed both clear advantages and notable challenges.

Perfect Sense is a series of six objects by designer Iga Węglińska that examines the concept of sensory substitution. The project investigates how the brain compensates when access to one sense is reduced, intensifying other sensory modalities and altering perceptual hierarchies.

The design team at Znamy Się introduces a glass installation with a ridged, biconvex profile that references the form of the eye's lens. Positioned to interact with natural daylight, the element refracts and distorts incoming sunlight, echoing the optical function of focusing light onto the retina. Through this intervention, light operates not only as illumination but as a shaping device within the space.

NeSpoon uses paint and the power of contrast to create large-scale lace patterns in a celebration of the craft. Often symmetrical, they appear framed by the outlines of corners and roofs, while windows and doors emphasize the murals' scale. From a distance, the patterns appear flawless, as if they could be printed. Up close, it's clear the lines are sprayed and brushed by hand, emphasizing the handmade.

After quite impulsively tackling a frame-by-frame sequence of an animated figure merging into a mountainscape using paint on paper a few years ago, the artist started her journey into analogue animation and it's "a rabbit hole I never want to leave", she says. "This sense of continuous, boundaryless flow underpins both my life and my work. In animation, I have found the most compelling way to interpret the world being in constant motion."

As a child, I imagined a place far behind our own sky. A planet with its own weather, its own atmosphere, its own logic entirely. It was my own version of science fiction. How did it feel on this planet? Was it snowy, windy, or could you sense the first green breath of spring-I called it Planet Z.

As we traverse an era dominated by algorithms and driven by the impulse for efficiency, we increasingly sacrifice our ability to feel. In this "age of emotional poverty," highlighted by philosopher Byung-Chul Han, our emotional landscapes grow flatter, our pains diluted, and genuine intimacy replaced with a sterile digital façade. However, in Gulu's evocative imagery, the body emerges as a resilient space of resistance, pushing back against a world that demands we conform to neat, predictable narratives.

Going out and demonstrating is really important. But if you don't feel comfortable demonstrating, you can volunteer for organizations, you can donate to organizations, you can sign petitions, you can call your senator. There's no excuse not to be involved on some level.

The organicity of the human body we're born inside of is encoded in us. This concept of our organic nature as the source of elemental knowledge, at once direct and mysterious, permeates the textural abstractions exhibited in her survey Magdalena Abakanowicz: The Thread of Existence at Musée Bourdelle.

Monia Ben Hamouda's work weaves calligraphy, material transformation and ancestral memory into sculptures and installations that oscillate between language and form. In conversation, we traced the conceptual and sensory threads of her practice, unfolding through key works that reflect on heritage, embodiment and translation. Using materials such as iron, stone and pigment, her installations become sites where history is not only referenced but physically felt.

Behind its seemingly polished framework, To Empty Out emerges as an exhibition beautifully rife with contradictions that overlay serious and playful themes according to Grzybacz, who often sets out to "clash the forces" of gravity and levity through his chosen subjects. Through sublime florals, bawdy scenes, and raw portraits of social life, Grzybacz balances contemplation and observation, navigating between painterly precision and intuitive expression in this deeply personal exhibition.

"We can't escape the language of the internet; it's now our emotional alphabet," Minginowicz says. "Sometimes a hashtag or emoji expresses more than an entire essay." "I don't intentionally insert trends into my paintings... but I also don't filter them out. I absorb the world, I scroll, observe, analyze. So yes, the internet seeps into my work, through color, gesture, distortion, glitches. Humor, or rather, bitter absurdity, emerges from that saturation."

The South African culture minister, the right-wing populist Gayton McKenzie, has cancelled the project for South Africa's pavilion at the forthcoming Venice Biennale, proposed by the artist Gabrielle Goliath and curator Ingrid Masondo. Goliath and Masondo have appealed to the country's president and submitted a case to its high court to overturn McKenzie's decision. Ben Luke speaks to Charles Leonard, who has been reporting on this story for The Art Newspaper over the past few weeks.

Cezanne Fondation Beyeler, Basel, 25 January-25 May Paul Cezanne (1839-1906) represented a powerful inspiration for the artists who came after him; as Pablo Picasso famously put it, he was "the father of us all". Now, an ambitious exhibition focusing on the French artist's later works, when he was at the height of his powers, will open at Basel's Fondation Beyeler in January.

Regina Silveira has spent the better part of three decades considering the relationship between media and meaning, particularly as it relates to Latin America. First presented in 1997, "To Be Continued..." features 100 black-and-white reproductions of photos, newspaper clippings, propaganda, advertisements, and more. Silveira nests each image into an oversized puzzle piece, which cuts off faces and scenes to leave fragments of pop culture icons, flora and fauna, and even the occasional mugshot spliced next to one another.

Galerie Nordenhake Mexico City is pleased to present Zigzags and Curves, an exhibition by Sarah Crowner that brings together her sustained research into geometry, abstraction, and the expanded language of painting. Presented across two sites - the gallery's Mexico City space and Casa Roja in Lomas de Chapultepec-the exhibition takes its title from the fundamental graphic elements that structure Crowner's visual vocabulary: the zigzag and the curve.