#marisa-merz

#marisa-merz

"My mum used to tell me how, back in her day, people would go to clubs and fall in love, and at the end of the night, the DJ would play slow music. I don't think that happens anymore."

Laura Berger continues her explorations of communion in a suite of staggering paintings that place her signature minimal figures in intimate fellowship with one another and the earth.

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 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.

While being treated for a serious mental breakdown in 1940, Carrington passed her days by filling sketchbooks with art that reimagined the hospital as an 'underworld' inhabited by strange, hybrid beasts.

There's this push and pull between feeling unease and discomfort, the nature of the spaces, and why they feel uncomfortable. But there is also tenderness and warmth, people adapting to these spaces and finding ways to make them comfortable.

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.

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.

Bricci was a multihyphenate artist active in the mid-17th century, and unique among female artists in that she was not only a painter but also an architect (most famous for a now destroyed Villa Benedetta Il Vascello), sculptor, and amateur musician. The daughter of an artist, Giovanni Bricci, she learned basic skills in his workshop and also worked his connections to meet potential patrons.

Relying on saturated planes of color and eschewing almost all minor detail, Christina Zimpel 's approach to figuration is deceivingly straightforward. With prolonged looking, the vibrant fields of color begin to evoke the effects of abstraction-recalling the historical traditions of Fauvism or Post-Impressionism-and the pose and movement of her figures take on heightened significance. Together, there is a delicate tension between the formal and emotional qualities of her work.

I don't know what you want to know, says Anne Imhof, three-quarters of the way into our interview. Her cautious smile, between curtains of jet black hair, changes into a sceptical pout. I have just quoted a headline at Imhof, one of Germany's most important contemporary artists, that described her 2025 New York show as a bad Balenciaga ad.

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,

If you want to paint, put your clothes back on! That was how Carolee Schneemann summarised the critical response to her 1975 performance piece Interior Scroll, which she had performed nude standing on a gallery table. After making a series of life model poses, she removed a scroll from her vagina and began to read her manifesto. In doing so, Schneemann asked an important question: What does it mean for a female artist to be both the artist and the life model?

The first-ever exhibition on Europe's most important early female painter, Catharina van Hemessen, will open later this year in Antwerp and come to London in 2027. It starts at the (15 October-31 January 2027), a museum of 16th- and 17th- century Flemish art in the city where she worked, and then goes in a more focused form to the National Gallery (4 March-30 May 2027).