Inspiración

The first rooms of MoMA’s Marcel Duchamp retrospective almost dare the visitor to find in his early paintings some hint of the artist’s future travesty of those mediums. The picture with which the show opens—a placid scene of the artist’s two older brothers, Gaston (Jacques Villon) and Raymond, engrossed in a game of chess—telegraphs Duchamp’s future, temporary abandonment of art in favor of the game, which, he avowed, “could not be commercialized.” Look closely and there are more hints still if you squint. The ink and watercolor Woman Hack Driver (1907), distilling its subject to a mere chassis, likewise foretells his eventual mechanization of human embodiment (and, conversely, his eroticization of machinic apparatuses). Even the late Symbolist Paradise (Adam and Eve) (1910 –11) seems to hint at its scene’s afterlife in a Man Ray photograph, wherein Duchamp and Bronia Perlmutter reenact Lucas Cranach’s painting in Francis Picabia’s ballet Relâche (1924). Duchamp’s prominence as the inventor of the readymade (the entire range appears duly displayed) has often eclipsed his aesthetic beginnings—as if his consequence for conceptual art had arrived out of thin air. Featuring 300 works

Horario habitual del museo La idea comenzó a fraguarse en 2021 y ha ido madurando y desarrollándose a partir de entonces. Aunque es esencialmente un proyecto personal desde los primeros momentos también se plantea como un proyecto “coral”, multidisciplinar, que finalmente cuenta hoy con la colaboración de diecinueve artistas y creadores canarios y que reúne mi propio trabajo plástico (pinturas, dibujos y obra gráfica) con las aportaciones de otras disciplinas artísticas: escultura, literatura, música y vídeo. El proyecto cuenta con un recorrido expositivo desde una primera muestra en Madrid (Delegación del Gobierno de Canarias, 2023) y una segunda en Las Palmas de Gran Canaria (Centro Cultural Pepe Dámaso, 2023-2024), para terminar su periplo con esta tercera exposición en Tenerife. Durante este recorrido el proyecto se ha ido enriqueciendo progresivamente con nuevas obras y con las diversas colaboraciones para alcanzar su máximo desarrollo en esta tercera muestra, que aporta varias novedades con respecto a las anteriores.

In a statement to ARTnews Thursday, CEO Marc Glimcher said that the gallery will now focus its roster on 85 artists, after growing to 135 and will “continue to be a global gallery” with plans to “ground their programs in the character of the local art scene.” “Galleries need a model correction,” he said. “For Pace, this means returning to our roots, recentering and reasserting our historic mission: We’re going back to the future, connecting younger artists to their spiritual fathers and mothers, focusing on a group of around 80 artists, which represents an intergenerational mix of new and established artists and estates.” In the Times story, Glimcher blamed an art system that has become “too big, too commercial, too impersonal, and too corporate.” “We all know it’s true,” he went on. “But you actually have to do something to adapt to it. You have to make some substantial changes.” An accompanying photograph shows Glimcher holding the viewer’s gaze, his right hand outstretched on the desk, clenched in a tight fist. Some artists now missing from those listed on the gallery website include Keith Coventry, TeamLab, John Gerrard, and Glenn Kaino. The latter spoke to the NYT and did not

Kulapat Yantrasast, the architect behind major museum projects for institutions including the Metropolitan Museum of Art and the Louvre, has been named artistic director of the 2027 Bukhara Biennial in Uzbekistan. The appointment comes less than a year after the debut edition of the biennial, which drew an estimated 1.8 million visitors and quickly became one of the most talked-about events on the international art calendar. Conceived and commissioned by Gayane Umerova and the Uzbekistan Art and Culture Development Foundation (ACDF), the next edition will run from September 3 through November 21, 2027. For much of last fall, it was difficult to walk through Chelsea or Tribeca without running into someone who had just come back from Bukhara.  Collectors, curators, museum directors, artists, and journalists from Los Angeles to London to Hong Kong descended on the ancient Silk Road city for the inaugural edition, helping turn what had once been an unlikely destination for the international art crowd into one of the season’s must-see events. Yantrasast succeeds Diana Campbell, artistic director of the Samdani Art Foundation in Bangladesh, who served as artistic director of the inaugura

From photography and sculpture to collage and bookmaking, this year’s awardees—Sara Cwynar, Nickola Pottinger, Trisha Baga, and Mimi Ọnụọha—span a wide range of artistic practices, conceptual concerns, and styles. Mimi Ọnụọha centers human and machine relationships, sometimes combining family photographs with video and images sourced from the internet. The 2025 single-channel video Ground Truths, for example, unearthed a buried history—literally, a mass grave—in Sugar Land, near the artist’s hometown, using a machine-learning model trained to identify similar sites across the state.  Nickola Pottinger, an artist born in Jamaica and raised in Crown Heights, Brooklyn, works across drawing, collage, and sculpture. Her sculptural works, which she calls “duppies”—the Jamaican patois word for ghosts—pay tribute to her cultural heritage through its physical remnants. Found heirlooms, repurposed materials, and pigmented pulp made from personal documents and past artworks, blended in a kitchen mixer, form the basis of the works featured in her 2025 exhibition at the The Aldrich Contemporary Art Museum. Pottinger is included, too, in this year’s Greater New York survey at MoMA PS1. “The Arti

SLOWING THE PACE. The mega Pace Gallery, with seven locations worldwide, is laying off some 50 staff and dropping about 50 artists, per last night’s New York Times. However, sources at Pace told ARTnews that the Times story ran before the gallery had conducted the layoffs, leading to confusion amongst gallery staff. A town hall is planned for 9 a.m. Thursday morning. “The whole art gallery art system became too big, too commercial, too impersonal, and too corporate,” gallery CEO Marc Glimcher said. “We all know it’s true. But you actually have to do something to adapt to it. You have to make some substantial changes.” This would certainly qualify. According to the NYT, the gallery, which celebrated its 65th anniversary last year, has buckled under the expenses of operating so many spaces, attending multiple art fairs, and navigating global and economic uncertainty. The exact number of staff and artist cuts has not been confirmed; however, there will be a reported reduction of “about 30 percent” of artists, from about 135 to 85, and “about 20 percent” of staff, from about 250 to 200. The views of Marc’s father, gallery founder Arne Glimcher, describe with signature candor where thin

Longtime museum director and curator Philippe Vergne is assuming a newly created position at Miami’s Bass Museum of Art, joining the institution on October 1 as artistic director and chief curator. Since 2019 he has led Portugal’s Serralves Museum of Contemporary Art, in Porto. “Philippe Vergne brings a remarkable depth of curatorial experience and a global perspective to The Bass at a pivotal moment in Miami Beach’s growth as a dynamic and complex city,” said Silvia Karman Cubiñá, who has been executive director and chief curator since 2008, in press materials. She will transition to being solely executive director. “I am honored to join The Bass’ team,” said Vergne. “I am very impressed with the consistent and deliberate work that Silvia Cubiñá has done over the years to create an institution deeply committed to artists across cultures and disciplines and to the transformative potential of contemporary art and ideas.” French-born Vergne has served in high museum positions ever since he earned two master’s degrees from Paris’s Sorbonne University in 1992. He served as director of the Musée d’Art Contemporain in Marseille until 1997, then moved to Minneapolis’s Walker Art Center, w

Marjane Satrapi, the French-Iranian graphic novelist, artist and film director whose landmark animated feature Persepolis earned a Cannes Jury Prize and an Oscar nomination and made her one of the most distinctive voices in world cinema, has died. She was 56. It was in France that Satrapi found her artistic voice. Beginning in 2000, she published Persepolis in four volumes through the Paris-based publisher L’Association, chronicling her Iranian childhood and European adolescence in bold black-and-white panels. Translated into English in two volumes in 2003 and 2004, the work became an international phenomenon, translated into more than 25 languages, it sold over a million copies worldwide. Her subsequent graphic novel Chicken with Plums won the Angoulême Best Comic Book Award in 2005. Satrapi always insisted on calling the form “comics” rather than “graphic novels” — “People are so afraid to say the word ‘comic,’” she told The Guardian in 2011. “Change it to ‘graphic novel’ and that disappears. No: it’s all comics.” Satrapi’s art could never be separated from her politics. Following the disputed Iranian presidential election of 2009, Satrapi appeared before European Parliament memb

The famed church was designed by architect Antoni Gaudi, a pioneer of Art Nouveau and modernisme, or Catalan Modernism. Construction on La Basílica de la Sagrada Familia, considered his masterpiece, started in 1882. When Gaudi died in 1926, at the age of 73, only one tower was completed. Work has continued on the monument in century since, with it becoming one of the most visited tourist attractions in Europe. A record 4.87 million people visited the church in 2025, with ticket sales generating over $150 million in revenue. While the Sagrada Familia is his most famous work, Gaudi is well known for Park Güell, completed between 1900 and 1913, which features many of his iconic motifs, Casa Batlló, and the apartment building Casa Milà, which is mimics a wave. In 1910 his work was celebrated with an exhibition at the Société des Beaux-Arts in Paris. He died in 1926 after being hit by a tram, and has since been buried in the crypt of his masterpiece, the Sagrada Familia.

But director general of heritage and architecture Delphine Christophe says she is “extremely confident,” adding that “nothing has been left to chance.” Also bullish on the move is Lucie Delhomme, museum manager at transport company Hizkia. “I was worried before we ran the tests,” she told Le Monde. “But many people, with a great deal of skill and experience, are working on this project.” The main threat is vibrations, but with the help of vibration expert Kerstin Kracht, those have been reduced by 96 percent, says the report, to the same level a sculpture experiences on a plinth in a museum as visitors walk by.

White House spokeswoman Taylor Rogers, meanwhile, noted in a statement that thanks to the administration, “more than 20 fountains and nearly 30 statues have been restored while many ongoing projects are projected to be completed in time for the historic 250th celebrations,”