#mark-ashton

#mark-ashton

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.

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.

I'm late for the school run. I'm stuck in traffic. I'm meant to be at my laptop, but I'm having to do it on my phone, in my car.

All this to say that Alexander Whitley can harness the technology that so fascinates him, and equally importantly, that he fully understands, to enhance his primary vocation as a dance maker and produce bewitching work. Unfortunately, Mirror, and its companion piece The Rite of Spring, in the brand new double bill currently at Sadler's Wells East, proved major disappointments.

Finally, all the consciousness I had left was in the center of my head. It was like a little light, and finally it went click. . . . And what I saw with this was my body lashed to the wall, about ten feet away.

Pratt Shows is an annual series of public exhibitions and presentations by the Institute's graduating class, representing years of research, exploration, and creative inquiry.

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.

In Arash Nassiri's new moving-image commission, an insect puppet drags itself across an empty marble floor, cast in eerie blue evening light. The scene is diffused through an enormous frosted-glass cubicle, refracting and distorting the images. That sense of distortion pervades the Tehran-born, Berlin-based Nassiri's first institutional solo exhibition, A Bug's Life, which opened last weekend at London's Chisenhale Gallery-and comprises a film set within a sculptural installation.

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.

In the story of art history-the art and artists, movements and trends-a select number of galleries have played a defining role in the evolution and trajectory of art itself. Among them, the Mayor Gallery in London is surely one, as it has maintained a position fostering and promoting some of the most significant developments in art for an astounding 100 years.

One of Vija Celmins's wonderful Night Sky works. Maybe one of her charcoal drawings of the cosmos, with a comet flaring across the surface. She conjures up such immensity, and such intimacy, with countless tiny points of light shining out of the darkness. Which cultural experience changed the way you see the world? In a word, Paris. After I left school, I spent several weeks working in Paris and discovered the pleasures of looking, on my own, for myself.

In ChertLüdde, evocations abound: the show is a transcription of California (I've never been, but I imagine it to be sun drenched and a bit dehydrated), which is transposed onto the grid of the gallery in Schöneberg. Shells, dried stalks, bits of pottery, sea urchins, art left behind by visitors, are arranged on a stage (a duplication of the one found in Horvitz's garden in Los Angeles),