by David Saric
This thorough survey will captivate admirers of Ruwedel and landscape-themed photography, while also providing curious onlookers a chance to explore new and exciting destinations through the photogpraher’s interesting and curious lens.
by Emese Krunák-Hajagos
Establishing a gallery with excellent exhibitions that also sell well is a time-consuming procedure that requires patience, perseverance, hard work and dedication to art. I think we bring all those qualities. We love what we do.
by Sunny Kim
So Be It is a refreshing approach to ceramics. The imperfections that appear through the procedure are celebrated here to the extreme and made permanent as well.
by Daisy Li Meng
Instead of escaping the political turmoil of the world, Kantor brings it inside the gallery. He soldiers on with holding a shovel in his right hand and the Red Book of Chairman Mao in his left.
by Vanessa Zeoli
Leistner’s current exhibit Looking for Marshall McLuhan in Afghanistan, is a convergence of old and new technologies, effectively working to preserve the visual history of mankind.
by Sunny Kim
The organic patterns made by the chemicals are intoxicating; they are as pleasing to the eye as they are complex
by Marina Dumont
Like a carousel rotating around its platform with its wooden horses and circus animals, there is something rather playful and addictive about Matilda Aslizadeh’s Trophy that will make viewers feel like they could look at the work for hours
by Nives Hajdin
Situated within Warden subway station, the exhibition explores the geographical, social, and political composition of suburban life, of communities on the periphery and the people who inhabit them
by Simon Termine
Fish’s exhibition explores the mechanical devices and processes behind a water-waste management plant, focusing on its aesthetic quality. Holt’s paintings appear as an album of select personal experiences in nature.
by Emese Krunák-Hajagos
There are times when one gets a little more closely acquainted with reality’s cudgel and, after that, I’m sure the world’s never quite the same place. That’s the part where there’s no return ticket.
by Emily Kovacs
The artist prompt viewers to engage with the past in relationship to the present and offer up their selection of art to instigate thinking about the continued romanticization of imagined realities
by Elena Iourtaeva
The acoustic interplay of these aesthetically similar works connects the three artistic vectors, otherwise separated by year of creation, from 1975 to 2015.
