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Steel Learning to Perform

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 ...
Folk Art

A Painting That Also Performs

Pata Dekhabo? at KNMA follows narrative image-making traditions from Bengal and Jharkhand across three centuries. These scrolls are interesting because the image was never necessarily meant to stand silently on a wall. Storytelling, performance, ritual and community were part of how it lived. That changes the way I think about painting. We often separate image, sound and performance into different disciplines, but these traditions show how artificial those borders can be. Sometimes an image was always meant to unfold in time.

https://www.knma.org/whats-on/exhibitions/pata-dekhabo/

#Pattachitra #IndianArt #Storytelling #FolkArt

KNMA Pata Dekhabo? - KNMA An exhibition exploring narrative scrolls, storytelling traditions, and vernacular image-making across Bengal and Jharkhand. The exhibition brings together picture-making traditions from Bengal and Jharkhand through narrative scrolls and single-format images spanning three centuries. Featuring works from pattachitra and Santhal traditions, it explores how storytelling, performance, ritual, and everyday life intersect within these living practices. Tracing […]
Accra

Painting a Return Home

Gabriel Selassie Tsagli’s Son of Kafui marks his first exhibition in Accra after living between Ghana and Germany. The paintings grow from memory, family, displacement and his return to the city, with figures emerging through accumulated, scraped and pressed layers of paint. I like that memory is not treated as something precise enough to illustrate. Faces can appear as traces, colour can carry emotion, and a place can remain inside someone even after years elsewhere. Returning home does not necessarily close a circle. It may reveal how much the circle has changed.

https://www.gallery1957.com/exhibitions/141-gabriel-selassie-tsagli-son-of-kafui-gallery-ii-accra/

#GabrielSelassieTsagli #GhanaianArt #Painting #Accra

Gallery 1957 Gabriel Selassie Tsagli - Son of Kafui | 23 Jul - 12 Sep 2026 The exhibition marks Selassie’s first with Gallery 1957, following his residency. Son of Kafui is a deeply personal return—shaped by memory and carried forward through devotion. The exhibition begins in the body’s remembrance of place: a specific mother, a specific city, a specific quality of light that never fully leaves....
Art Collection

When Unease Becomes a Collection

At Serralves in Portugal, Vexation of Spirit brings together works collected over four decades around moral unease and historical awareness. What interests me is the idea that a collection can become more than a sequence of individual tastes. Over time, choices begin to reveal a way of looking at the world. The artworks may have been created independently, yet placing them together produces another layer of meaning. Collecting is also editing: deciding which voices should remain beside one another long enough for unexpected conversations to begin.

https://www.serralves.pt/en/ciclo-serralves/2605-colecao-duerckheim/

#Serralves #ContemporaryArt #PortugalArt #ArtCollection

serralves.pt Vexation of Spirit. The Duerckheim Collection x Serralves Vexation of Spirit brings the Duerckheim Collection to Serralves. Art, conflict, religion and society in dialogue with recent history.
Country Larger Than Its

A Country Larger Than Its Borders

We Who Remain at Kiasma presents Sámi art across Sápmi, a cultural region extending through areas now divided between Finland, Sweden, Norway and Russia. That immediately complicates the neat borders on a museum label. Culture does not always fit the political maps created later around it. Art can make that mismatch visible, not by drawing another border but by showing how identity continues across the existing ones.

https://kiasma.fi/en/exhibitions/we-who-remain/

#SamiArt #Kiasma #IndigenousArt #NordicArt

Museum of Contemporary Art Kiasma We Who Remain | Museum of Contemporary Art Kiasma Organised jointly by Kiasma and the Sámi Museum Siida, this exhibition presents contemporary art by and about the Sámi community across the Sápmi territories of Finland, Sweden, and Norway.
Kinetic Art

Steel Learning to Perform

Len Lye treated movement almost like musical composition. In works such as Universe, flexible steel does not simply form a sculpture. It bends, vibrates, produces sound and traces temporary shapes through space. What interests me is that the object is never really the whole artwork. Energy completes it. Without movement, part of the sculpture is still missing.

https://govettbrewster.com/exhibitions/2024/len-lye-motion-compositions

#LenLye #KineticArt #NewZealandArt #SoundArt

Govett-Brewster Art Gallery | Len Lye Centre Len Lye: Motion Compositions | Govett-Brewster Art Gallery | Len Lye Centre New Zealand's most courageous contemporary art museum and home to the collection of modernist filmmaker and kinetic artist Len Lye.
Colombian Art

Walking on Melted Weapons

Doris Salcedo’s Fragmentos turns weapons surrendered by the FARC into a metal floor created with the participation of women who experienced sexual violence during Colombia’s conflict. Instead of building another heroic monument above us, Salcedo places history beneath our feet. I find that reversal powerful. A monument usually asks us to look up. This one changes the ground we stand on.

https://www.museonacional.gov.co/noticias/Paginas/Fragmentos.aspx

#DorisSalcedo #ColombianArt #PublicArt #Memory

Art History

Digging Through the Recent Past

Before the Eclipse looks back at art made in Mexico between 1981 and 1991 through archaeology, ecology, popular culture and the country’s move toward globalisation. I like the use of archaeology as a metaphor for such a recent period. We normally dig through centuries. Here only a few decades are enough to reveal that ideas about national identity can become historical layers surprisingly quickly.

https://www.museotamayo.org/en/exposiciones/ante-el-eclipse-arqueologias-del-arte-en-mexico

#MexicanArt #MuseoTamayo #ContemporaryArt #ArtHistory

museotamayo.org Before the Eclipse Jun 10, 2026 - Oct 18, 2026
Classroom Full of Agreement

A Classroom Full of Agreement

Heri Dono’s Fermentation of the Mind places fibreglass heads on old school desks. Step on a pedal and they nod together while distorted chanting begins. It is funny for a moment, then slightly disturbing. A classroom should create independent thought, yet here agreement has become mechanical. Dono turns propaganda into choreography, using recycled electronics and references to Indonesian shadow-puppet traditions.

https://www.mplus.org.hk/en/exhibitions/heri-dono-fermentation-of-the-mind/

#HeriDono #IndonesianArt #KineticArt #InstallationArt

mplus.org.hk Heri Dono: Fermentation of the Mind | M+ Museum Join us at M+ to explore Heri Dono’s kinetic installation 'Fermentation of the Mind' (1992–1993), which resembles a classroom, featuring rows of old wooden desks topped with white fibreglass heads.
Cloth Can Carry Two

Cloth Can Carry Two Histories

Zohra Opoku works between her upbringing in East Germany and her ancestral connections to Ghana, often using cloth, photography and personal imagery to explore identity and memory. What stays with me is that fabric already has a history before the artist touches it. It folds, travels, wears out and touches bodies. Memory does something similar. Perhaps that is why textile can feel more intimate than a perfectly clean surface.

We Proceed in the Footsteps of the Sunlight

#ZohraOpoku #GhanaianArt #TextileArt #Photography

Zeitz MOCAA We Proceed in the Footsteps of the Sunlight - Zeitz MOCAA Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) presents We Proceed in the Footsteps of the Sunlight, the first museum survey exhibition of Ghanaian-German artist Zohra Opoku. Tracing a decade of quiet revolutions in cloth, memory, and self, the exhibition brings together textured expressions of personal history and cultural inheritance, revealing an artistic journey in constant motion. […]
Aurelia Munoz

When Textile Starts to Fly

Aurèlia Muñoz pushed fibre beyond the wall. Her macramé structures, bird-kites and handmade-paper works treat weaving less as decoration than as a way of building space. What interests me is how something associated with softness can suddenly behave architecturally, suspended between sculpture and drawing. The knot becomes more than technique. It becomes a way of thinking in three dimensions.

https://www.museoreinasofia.es/en/exhibition/aurelia-munoz/

#AureliaMunoz #TextileArt #Sculpture #SpanishArt

museoreinasofia.es Aurèlia Muñoz The exhibition Aurèlia Muñoz. Beings plots an all-encompassing route through the work of an artist who is pivotal to an understanding of contemporary textile art. Involved in movements such as Nouvelle Tapisserie and the Escuela Catalana del Tapiz (the Catalan Tapestry School), Aurèlia Muñoz (Barcelona, 1926–2011) transcended the spheres of fabric, fibre and craft, her work drawing on a combination of ancestral techniques and contemporary resources to focus on the impact of post-industrial crises in land, water and aerial ecosystems, which emerged as large motifs in her oeuvre.  In this instance, her early collages and assemblages, with Surrealist and gothic influences, and large-scale pictorial embroidery pieces lead into an unseen ensemble of macramé structures from the collections of institutions in Spain, Europe and the USA. Her emblematic kite-sculptures and her final installations, produced with handmade paper, are also central to the show, as is a vast selection of maquettes and drawings displayed for the first time.   The exhibition, with a title referring to one of Muñoz’s core concepts — entes (beings) — spans the fifty or more years of her multifaceted practice, crafting an unprecedented view that seeks to open fresh perspectives on her unique legacy.   The exhibition will also be on view at Museu d’Art Contemporani de Barcelona (MACBA) from 5 November 2026 to 29 March 2027.