Skip to content

Lumlux Art

A–Z
Art Stream

Rebuilding a House at Full Scale

Maria Taniguchi

Painting Time One Rectangle at a Time

Maria Taniguchi’s ongoing “brick paintings” are built from thousands of small hand-drawn rectangular cells, individually filled with paint. Some of the canvases become enormous, yet their structure comes from an almost modest repeated action. Afterimage, at Singapore Art Museum until 22 November 2026, is the first monographic exhibition of Taniguchi presented by a Singapore museum and brings these paintings together with sculpture and video. The rectangles are not mechanically printed. Their subtle differences accumulate across days, weeks and sometimes months of work. Taniguchi considers the paintings individual parts of one continuing artwork rather than isolated compositions. I like what that does to repetition. From a distance the surface can appear systematic, almost architectural. Up close, the system becomes a record of labour and duration. Nothing dramatic needs to happen from one cell to the next. Time becomes visible precisely because the gesture changes so little.

https://www.singaporeartmuseum.sg/en/art-events/exhibitions/maria-taniguchi-afterimage

#MariaTaniguchi #PhilippineArt #Painting #SingaporeArt

singaporeartmuseum.sg Maria Taniguchi: Afterimage | Singapore Art Museum Maria Taniguchi: Afterimage is the first monographic exhibition of the acclaimed artist presented by a Singaporean institution.
Abstract Art

Painting for a Temple That Never Existed

Hilma af Klint began The Paintings for the Temple in 1906, creating a vast cycle of works filled with spirals, circles, botanical forms, letters and vivid colour long before abstraction became established in European modernism. The current Grand Palais exhibition in Paris brings this cycle to France for the first time, including the monumental The Ten Largest. What interests me is that these paintings were not originally conceived for the art world as we know it. Af Klint imagined them for a spiritual temple that was never built, while her public career remained largely figurative. She also stipulated that much of this work should not be shown until years after her death. That changes how I look at the paintings. They were not attempts to anticipate an art movement or win a place in modernist history. Geometry, colour, science and spiritualism became tools for trying to picture something she believed existed beyond ordinary sight.

https://www.grandpalais.fr/en/program/hilma-af-klint-paintings-temple-1906-1915

#HilmaAfKlint #AbstractArt #ModernArt #ParisArt

Grand Palais Hilma af Klint, paintings for the Temple (1906-1915) Her work upended the chronology of modern art. For the first time in France, discover the visionary world of Hilma af Klint (1862?1944), a pioneer of abstraction long kept in the shadows. From her large-scale compositions to her secret avant-garde works, her art blends color, form, and symbolism with captivating audacity.
Conceptual Art

Sweetness That Refuses to Stay Still

Felix Gonzalez-Torres built some of his most affecting works from materials that seem almost too ordinary for a museum: wrapped candies, stacks of paper, strings of lights, curtains and billboards. Sweet Revenge, at Madrid’s Museo Reina Sofía until 12 October 2026, brings together more than fifty works and is his first large-scale presentation in the city. Madrid carries particular weight in his biography. Gonzalez-Torres was sent there from Cuba in 1971 before moving to Puerto Rico, and when he returned almost twenty years later he premiered “Untitled” (Revenge), a spill of blue candies.

What interests me is how instability becomes part of the work rather than something a museum must prevent. Visitors can take sheets of paper or candies. The works diminish and may be replenished. Ownership does not produce one permanent physical object. Gonzalez-Torres created rules, but those rules deliberately leave space for change. That combination of tenderness and structure feels especially powerful in work shaped by love, loss, the AIDS crisis and the conservative politics of the 1980s and 1990s. The work can disappear in your hand and still remain the work.

https://www.museoreinasofia.es/en/exhibition/felix-gonzalez-torres/

#FelixGonzalezTorres #ConceptualArt #ContemporaryArt #MadridArt

museoreinasofia.es Felix Gonzalez-Torres Sweet Revenge is the first large-scale presentation of Felix Gonzalez-Torres (1957–1996) in Madrid. The work of the Cuban-born, American artist’s emotive and political practice continues to resonate today in powerful ways. The city of Madrid was an emotionally fraught site for Gonzalez-Torres, one he contemplated in his early work and referenced throughout his all-too-brief career. In 1971, he was sent to Spain as part of a program to transport children out of Cuba to escape the regime. He stayed in Madrid for a brief period of time before relocating to Puerto Rico and later New York city, where he would spend most of his adult life. He did not return to Madrid until 1991 on the occasion of a group exhibition. For this show, he premiered the sculpture “Untitled” (Revenge), a spill of crystal blue candies. Reflecting on his first return to the city, he wrote, “went back to Madrid after almost twenty years — sweet revenge.” This major exhibition of Gonzalez-Torres’s work uses the paradox of “sweet revenge” as the methodological lens through which to understand his powerful uses of difference, contradiction, and paradox across the different bodies of work that comprise his oeuvre. The refined beauty of his aesthetic vocabulary, for instance, is often tempered or enhanced by the parenthetical parts of titles he ascribed to the individual pieces, invoking references to diverse topics such as romance, war, and illness as well as contested social and political narratives, which remain visually unarticulated. Similarly, the protocols governing his give-away, endlessly replenishable paper stacks and candy spills, or the installation of his curtains, billboards, and light strings (all objects included in this exhibition) are structured yet flexible—leaving room for contingency and reinterpretation. The central framework of Sweet Revenge is to demonstrate how Gonzalez-Torres’s work consistently sustains multiple, often seemingly opposing conditions at once. The tension between these terms is not incidental but central to how the work activates critical reflection. As a queer artist working at the height of the AIDS crisis, and within a political climate in the U.S. shaped by the conservative right, the work of Gonzalez-Torres employs a visual language that is purposefully unstable, participatory, and personal. In his elegiac work, the death of his lover to AIDS in 1991 was fundamental. The artist mourned his loss as much as he celebrated their love; the work articulates and enacts this. Gonzalez-Torres’s knowledge of his own impending death from AIDS afforded him the opportunity to contemplate the future of his work, leaving an influential legacy that transforms aesthetic forms into vehicles for both emotional resonance and political urgency. 
Empty Fiji Museum’s Voyages

The Ocean Was Never Empty

Fiji Museum’s Voyages: Stories of an Ocean People places maritime knowledge at the centre of Fijian history, from early Lapita navigation to iTaukei voyaging and later migrations. What stays with me is how differently the ocean appears when it is understood as a route rather than a barrier. On many maps, islands look isolated by huge areas of blue. For generations of Pacific navigators, that same water connected communities through knowledge of currents, stars, weather and vessels. Geography changes when you change the knowledge used to read it.

Our Exhibitions

#FijiMuseum #PacificCulture #OceanicArt #MaritimeHistory

Arctic Art

Light as a Form of Resistance

The National Gallery of Canada’s Qillaniq brings together more than seventy contemporary artists from the circumpolar Arctic. Its title is an Inuktitut word describing light shimmering on water. I like that image because the exhibition uses brightness rather than darkness as a way to speak about resilience. Indigenous contemporary art is too often framed primarily through loss or historical damage. Joy, humour, imagination and continuity can be equally political. Survival is not only the preservation of what existed before. It is also the freedom to keep inventing what comes next.

https://www.gallery.ca/

#Qillaniq #IndigenousArt #CanadianArt #ArcticArt

Architecture Art

Rebuilding a House at Full Scale

For Obras extraordinarias in Santiago, Carolina Illanes reconstructs a fragment of a politically charged residence at full scale while working with housing archives and documents. The gesture fascinates me because architecture becomes evidence. A room is never only walls and dimensions; it can contain assumptions about power, privacy and who is allowed to occupy space comfortably. Rebuilding part of a structure inside a museum does not simply reproduce architecture. It removes the building from normal use so that its politics become much harder to ignore.

Obras extraordinarias

#CarolinaIllanes #ChileanArt #ArchitectureArt #Santiago

African Art

Dakar Looking Forward Again

The Dakar Biennale returns in November 2026 for its sixteenth edition, continuing a history that has made the city an important platform for contemporary African art and its diasporas. What interests me is not simply the scale of a biennale, but what happens when an international art event grows from a cultural history that predates the current global exhibition circuit. Dakar connects contemporary practice to earlier Pan-African cultural ambitions. A biennale can be temporary, yet the conversations it keeps reopening may last much longer than the exhibition itself.

PRESS RELEASE

#DakArt #SenegalArt #AfricanArt #Dakar

BIENNALE DE L'ART AFRICAIN CONTEMPORAIN PRESS RELEASE - BIENNALE DE L'ART AFRICAIN CONTEMPORAIN The Government of Senegal, through the Ministry of Culture, Crafts, and Tourism, is pleased to announce the organization of the 16th edition of the Biennale of Contemporary African Art, which will take place in Dakar from November 19 to December 19, 2026. Recognized as one of the most prominent artistic events on the international stage, […]
Archive Beside the Painting

An Archive Beside the Painting

Jakarta’s National Gallery of Indonesia is currently presenting Oesman Effendi through both artworks and archival material. I like exhibitions that refuse to separate the finished object from the traces surrounding its creation. A painting may appear self-contained once it reaches a museum wall, but sketches, letters, photographs and documents can reveal a much less orderly process. Archives remind us that an artistic career is not a straight line of masterpieces. It is made from experiments, discarded directions, friendships, arguments and unfinished thoughts.

https://gni.kemenbud.go.id/program/pameran

#OesmanEffendi #IndonesianArt #ArtArchives #Jakarta

Galeri Nasional Indonesia Galeri Nasional Indonesia Situs Resmi Galeri Nasional Indonesia
Auckland Art

Machines Performing Belief

Twenty-one years after representing New Zealand at the Venice Biennale, et al.’s the fundamental practice is being shown in its entirety in Aotearoa for the first time. Five moving autonomous systems, computer-generated voices and sound form what feels like a dystopian orchestra. What interests me is how easily machines can borrow the language of authority. A synthetic voice does not need to understand an idea to repeat it convincingly. The work turns technology into a strange theatre of belief, obedience and doubt.

https://www.aucklandartgallery.com/connect/news-and-media/new-zealands-2005-venice-biennale-presentation-to-be-shown-in-aotearoa-for-the-first-time

#NewZealandArt #MediaArt #InstallationArt #AucklandArt

Auckland Art Gallery Toi o T?maki New Zealand’s 2005 Venice Biennale presentation to be shown in Aotearoa for the first time | Auckland Art Gallery Toi o T?maki New Zealand’s 2005 Venice Biennale presentation to be shown in Aotearoa for the first time.
Bogota Art

A Geography Made From Feeling

MAMBO’s Desconfinamientos revisits works from its collection through the idea of affective geography rather than placing them neatly inside a conventional history of Colombian art. I find that approach interesting because places are never only coordinates. A city can be mapped through memories, disappearances, encounters and emotional attachments that no official map records. Collections can work the same way. Rearranging familiar works can reveal relationships that chronological order quietly hides. Sometimes changing the map is enough to change the story.

https://www.mambogota.com/exposicion/coleccion-en-escena-7desconfinamientosgeografias-afectivas-en-la-coleccion-mambo/

#MAMBO #ColombianArt #BogotaArt #ContemporaryArt

MAMBO Colección en escena #7 Desconfinamientos: Geografías afectivas en la Colección MAMBO - MAMBO El oráculo de la noche es la exposición individual de la artista colombiana María Isabel Rueda.
Fabienne Hess

The People Behind the Museum

Fabienne Hess’s Lo invisible y sus tramas at Museo Amparo turns attention toward museum staff whose work normally disappears behind the exhibition. Images printed on silk move through the space while rarely shown collection pieces sit beside familiar works. I like this reversal of attention. Museums teach us what to look at, but they can also make the labour supporting that act of looking almost invisible. An exhibition does not simply appear on a wall. It is built from hundreds of decisions, gestures and forms of care that usually remain outside the frame.

https://museoamparo.com/exposiciones/piezas/315/lo-invisible-y-sus-tramas

#FabienneHess #MuseoAmparo #MexicanArtScene #InstallationArt

museoamparo.com Fabienne Hess. Lo invisible y sus tramas | Exposiciones | exposiciones actuales | Museo Amparo, Puebla El trabajo del personal del Museo Amparo, que habitualmente es invisible en las galerías, ahora está en los muros. Las jerarquías se alteran: obras ...