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.
BREMEN is designed to change the way people interact with music by allowing everyday objects to become actual instruments, thus removing traditional barriers to music-making.
"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."
Pornceptual challenges mainstream perceptions of pornography, reframing it as inclusive, artistic, intimate, and respectful rather than exploitative or taboo. Its events, from Berlin to international stages, bring a sex-positive, body-inclusive ethos to nightlife. Strict consent practices, no-photo policies, and spaces designed for authentic self-expression create a rare kind of freedom - one that allows visitors to explore identity, desire, and intimacy without judgment.
Robert Therrien's 'Under the Table' is a 10-foot-tall sculpture that captivates visitors, inviting them to experience its scale and intricacies from below. The piece exemplifies Therrien's ability to transform everyday objects into monumental art.
Small, nimble cameras occupy perspectives inaccessible to human perception, creating images that are more visceral and embodied than the purely retinal. In the absence of verbal narration, we witness an interconnected logic of violence: The camerawork lets us see the brutal working conditions, but also the brutality toward other sentient beings and the sea, all unfolding as part of the same process.
Countering the passive consumption of today's social, political, ecological and informational debacle, artist and designer Jerszy Seymour proposes a necessarily utopian alternative, grounded in cooperative creativity. His interdisciplinary practice engages the transformative potentials of art, design and activism through instinctual and embodied energies.
Alexander Basil has created a cosmos. His instantly recognizable style and established color palette implicate the subject matter in a process of calm and sure scrutiny. Central to this cage is the familiar figure that reappears, on a quest through daily life. The protagonist is both the subject and object of reflection that morphs in and with his surroundings, travelling worlds beyond the room he finds himself in.
From February 17 to March 10, 2026, the vibrant intersection of fashion and art will come alive at Platte Berlin with SPOTLIGHT ON BLACK CREATIVITY. This unmissable pop-up exhibition showcases the brilliance of Black designers and visual artists, setting the stage for an extraordinary celebration of heritage and contemporary expression. Dive into a world where creativity knows no bounds, featuring groundbreaking brands such as adesa, Amaluma Studio, Gelisa George, Dinga, Azea Zalea, and GEMZ.
On Franklin Street in Brooklyn's Greenpoint neighborhood, one non-commercial gallery fosters 'a small, stubbornly human space for friction.' Friction—the ubiquitous buzzword that captures the simultaneous delight and discomfort of doing things the slow way—is at the heart of artists Pap Souleye Fall and Char Jeré's current show at Subtitled NYC. It also reflects the overall spirit of this little exhibition space and of a burgeoning movement to reject our culture of optimization in favor of a bumpier, more intimate, less alienating experience.
Elisabet's creative journey for this season began with a thoughtful reflection on what truly matters in fashion, the art of selection and refinement over mere excess. Collaborating with the UK-based 360 Group, she honed her signature ultra-exaggerated design language, creating voluminous coats that envelop the wearer in comfort while allowing for freedom of movement. This collection showcases puffers with organically curved shapes, innovative features like dual-access pockets, and adjustable hems, ensuring that functionality harmonises with style.
LANDEI transcends the conventional notion of a "place"; it embodies a state of mind, challenging perceptions of naivety or unsophistication. This deliberate reclamation of the term speaks volumes about the brand's ethos and intention. At the heart of this collection lies an exploration of fashion that distances itself from the spectacle of the industry, shifting the focus toward origin, patience, and a deep, internal contemplation of creativity.
Myriam Jacob-Allard appears through a heavy door and greets us with an easy warmth, scooping us up and welcoming us into her world. We are immediately absorbed by an unexpected color-drenched stairwell. Every surface is saturated in a dense, glowing yellow that reads unmistakably as egg yolk, insulating us from the outside in as we make our ascent. We turn into a long hallway whose fragrant freshly waxed floor catches the light, reflecting it back upward so that the corridor seems to glow beneath our feet.
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.
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),
The Rhinoceros in the Room, an inflatable installation by Itamar Gov, occupies the central volume of Kunstmuseum Magdeburg in Magdeburg, Germany with a single, overwhelming gesture. Installed inside the former monastery church that houses the museum, the project places a larger than life rhinoceros directly in the nave, its bulk stretching from aisle to aisle and rising toward the Romanesque vaults, so that the animal becomes the primary spatial condition of the building rather than an object within it.
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."
