Inspiración

The first joint children’s exhibition by the Taoyuan Museum of Fine Arts and the National Gallery of Singapore explores ecology, sustainability, and imagination through art.

GIRL POWER. A new boutique art fair for women-led galleries, Echo Soho, will debut in London from October 16 to 19, running alongside Frieze London. Launched by gallery owner India Rose James, the fair will take place at Artist’s House on Manette Street—home to Soho Revue Gallery’s residency program—and feature 12 exhibitors across two floors of a Georgian townhouse. James, who founded Soho Revue in 2019, said she was inspired by the vibrant satellite fair scenes in cities like Miami. “Every year I go to Frieze and wonder why London doesn’t have more alternatives,” she told the Art Newspaper . While not positioned as a competitor to Frieze, Echo Soho aims to be a more accessible, complementary platform for mid-sized and emerging galleries. With stand prices starting at just £850 ($1,150) and booth sizes ranging from 20 to 30 square feet, the fair seeks to lower barriers for participation. “We’ll help with installs, provide an art handler, take booth photos—it’s designed to be as easy as possible,” James said. The fair also underscores her commitment to female representation. “Our program is largely female, as is my network,” she explained. “And when writing the exhibitor list, we r

Stillman characterized the board’s decision to focus on the archival project, as opposed to realizing another triennial exhibition, as a holistic one, brought about by several different factors. The most important of these is ensuring the legacy of Prospect. “We do not want to see a situation where Prospect is ever threatened of erasure,” he said. “This is an attempt for us to turn our attention toward ensuring that the accomplishments of Prospect over the last 20 years and its growth and development are recognized and organized in a way that they are not right now.” The first edition of Prospect opened in 2007, just two years after Hurricane Katrina had devastated the city. Created as a response to that devastation, the goal of its founder, independent curator Dan Cameron, was to think about “how contemporary art can be part of the whatever the next chapter in New Orleans is going to be,” according to Stillman. The first two editions were organized by Cameron, and the organization has lined up closely watched curators to realize its subsequent iterations, including Franklin Sirmans (for Prospect.3), Trevor Schoonmaker (Prospect.4), and Naima J. Keith and Diana Nawi (Prospect.5). M

One major public administrative building—identified as B2 and “the most important in the urban history of Peñico”—has notable designs of conch shell trumpets called pututus depicted on the walls of a quadrangular hall. The building identified as B2 also contained “significant” archaeological discoveries, including sculptures made of unfired clay of human-like figures, animal figures, and ceremonial objects; necklaces with beads composed of different materials; and a large variety of stone artifacts, including grinders, crushers, anvils, and hammerstones.

It is prized as one of the great works of the Romanesque style, filled with small images that combine to tell a sprawling narrative. The way the tapestry tells its narrative plotted the course for many artworks that followed, including an array of history paintings made in the centuries afterward. It has also inspired an array of contemporary artists, among them Britta Marakatt-Labba, whose 2003–07 tapestry Historjá tells the story of the Sámi people using a similar format. But in 2021, a report found that the tapestry was too fragile to travel, posing a significant setback for the loan. Then, in 2022, it seemed as though the loan might happen again, with the Victoria & Albert Museum undertaking scholarship that might allow that London institution to ultimately exhibit the tapestry. Yet there were no follow-up reports to the Times of London one that revealed the V&A scholarship efforts.

The four-story, 22-foot-wide building located at 208 Vanderbilt Avenue in Brooklyn’s Fort Greene neighborhood was designed in 2006 by British architect David Adjaye for Simpson and her now ex-husband, the photographer James Casebere. Pitch Black, as the architect dubbed it, boasts a sleek design with the front featuring black polypropylene panels and the back made almost entirely of glass windows that lead out to more than 800-square-feet of garden space. While the cost of an artist’s dream might be priceless, the townhouse is currently on the market with the Corcoran Group for a whopping $6.5 million, with annual property taxes coming in at just above $12,000. The property is situated among Fort Greene Park and other notable art locales like the Brooklyn Academy of Music (BAM) and Pratt Institute. Simpson is known for her alluring and elusive surfaces that form images of Black women in an exploration of gender, race, and culture. She rose to prominence during the 1980s and ’90s with her photography on the same subjects. Her work is currently on view in the exhibition “Source Notes” at the Metropolitan Museum of Art in New York through November 2. This is hardly the first notable a

If you’ve ever stood before a hulking sculpture and thought, “I wish I could take just a sliver of that home,” MSCHF has you covered. The Brooklyn-based collective—best known the ATM at Art Basel Miami Beach that had monied art fair fans jockeying for position, selling a Damien Hirst painting one dot at a time, and the Big Red Boot that went viral in 2023—is back with King Solomon’s Baby, a sculpture that’s built to be dismembered. The show continues in public view on Friday and Saturday (July 11–12) from noon to 6 p.m. at the same location. What you’ll find: a large-scale sculpture that’s destined for disassembly. To say, it’s being cut up with a hot wire jig, sold off, and distributed in thin slices until what once stood as a “monumental” work becomes a thousand wall-ready paintings. The fully deconstructed sculpture will be on view on July 13. Per one reading, the sculpture turns aura into asset, spectacle into commerce, and collective memory into flat-pack wall décor. Interested parties don’t even get to choose what slice of the big baby you get—according to the web site, each buyer gets a random slice of the polystyrene foam and paint cutie [...]

El artista valenciano y galerista Mira Bernabeu inaugura su segunda sede en Madrid. Será este sábado cuando 2 Mira Archiv abra sus puertas como una extensión o un spin off de su galería, 1 Mira Madrid, el proyecto que le sirvió para volar de València a la capital y epicentro del arte. En este segundo espacio que abre en pleno centro de Lavapiés, el propósito ya no es únicamente la exposición de obras, sino un concepto más profundo, delicado y también descuidado del arte: lo que queda oculto. Se trata de ofrecer "una mirada crítica y activa sobre el archivo como herramienta artística, cultural y política", explican. Ese objetivo se ha materializado en dos espacios: un Laboratorio de Archivos y una sala de exposiciones propia. El laboratorio será un espacio técnico especializado en la clasificación, conservación, digitalización y tratamiento profesional de archivos culturales, tanto de artistas como de colecciones privadas, museos o instituciones públicas. Funcionará como centro de trabajo sobre el propio archivo material, pero también como un lugar de reflexión metodológica y epistemológica "sobre los modos de producir memoria y significado" desde la imagen y el documento. Para todo