Peter Fischli David Weiss, Douglas Gordon, Ugo Rondinone, Doug Aitken, Tschabalala Self and Franz West were selected among this year’s Kunstkompass Top 100 contemporary artists rankings in Capital Magazin! Rondinone additionally ranked 72th in the top 100 of Monopol Magazin. The artists are selected based on a thorough assessment of their recent activities, including participation in major international biennales, institutional exhibitions, public art installations, awards, and reviews in prestigious journals. Fischli Weiss (30th), Gordon (40th), Rondinone (52nd), and Aitken (96th) ranked among the top 100 in the overall ranking. Self ranked 43rd among the top 100 with the highest increase in points (Stars of Tomorrow). West ranked 9th among the top 20 influential posthumous artists (Olymp).

Find out more on Capital Magazin

Hanno Hauenstein from Artnet visited Adam Pendleton in his New York studio: "Asked whether it would be fair to say that he is currently moving away from words and more towards abstraction, he said: “A little bit, but it is much more ‘both-and’ instead of ‘either-or.’” His answer not only explains an art practice, but it might also be useful to keep in one’s mind amid the political debates swirling in recent weeks. While he might be reluctant to admit it, the artist’s engagement with politics excels beyond the canvas or his studio."

Read the full article here. 

"Presented in Vienna by Galerie Eva Presenhuber, “Jean-Marie Appriou: Gemini” is the artist’s third exhibition with the gallery and is thematically focused on the celestial twins. The concepts of Gemini, twins, dualities, and dichotomies have long been present in the history of art, but here Appriou looks at ideas around these concepts and forms a new, unique parallel, that of poetry and sculpture."

Read the full article here. 

"For Jean-Marie Appriou and Andrew Lord, sculpture provides a means to explore the material essence of life and, imbued within it, history, personal experiences, myths, and memories. At Galerie Eva Presenhuber, Vienna, two concurrent solo presentations of Jean-Marie Appriou's bronze and casted glass sculptures in Gemini and Andrew Lord's intimate, entangled forms in a sculpture of my left hand and five embraces (9 November–22 December 2023) act as containers to these threads."

Read the full article here. 

"According to the vaguely trustworthy website we all use, Lars von Trier’s apocalyptic film Melancholia (2011) was inspired by a depressive episode he had. Apparently, a therapist told him “Depressive people tend to act more calmly than others under heavy pressure because they already expect bad things to happen.” However the current group show at Galerie Eva Presenhuber has nothing to do with this but rather Albrecht Dürer’s engraving Melencolia 1 (1514), which was the initial reference to the exhibition of the first major group show curated by the gallerist in 1988 at Galerie Grita Insam..."

Read the full newsletter here. 

Matthieu Jacquet reviewed the photograph Barbershop Scene by Torbjørn Rødland, on view at Consortium Museum, Dijon: "Rødland once compared his photographs to tarot cards, representations that are laden with symbols and multiple possible interpretations, none of which can be categorical, verified, or rationalized. The strength of works like Barbershop Scene is that Rødland can turn multiple potential readings into a psychological funhouse mirror, one that is both bewildering and captivating, causing viewers to constantly question their own assumptions."

Read the full essay here. 

"Eva Presenhuber opens a group show in Zurich this week, giving equal prominence to the artists she represents and those she describes as having “different positions”, who are mostly lesser-known. The latter include Stanislava Kovalcikova, a Czech artist whose work Presenhuber discovered at Vienna’s Belvedere Museum last year, and Aleksandra Waliszewska, an artist with great success in her home country of Poland but less well known elsewhere. They join gallery stalwarts, including Ugo Rondinone, Franz West and Steven Shearer, in a show of about 80 works by about 26 artists (November 11 to February 24). The title of the exhibition is Melencolia, although Presenhuber says that the art is more “works that are all reflective and thoughtful”. This, she says, is relevant for some of today’s artists under the age of 40 who can get “abused by high prices at auction, when they need more time and energy to think about what they are making. I have a distinct preference for slow burners,” she says."

Read on Financial Times

"As the work rouses and relieves this anxiety of gazing, Sleep, Death’s Own Brother sets forth a vision of rebellion that often turns on itself, its enactment of the anti-hero dandy exerting pressure on the parameters and possibilities of portrait-making. It is also a fascinating study of how an artist can entice the viewer into a poetic scenography of cat and mouse, where existential dread looms and strategies of release do not always ease the pain."

Read the full article on Spike Art Magazine. 

Heinz Schütz interviewed Matthew Angelo Harrison for KUNSTFORUM International, stating: "The encapsulation of traditional African sculptures plays a central role in Matthew Angelo Harrison's work. Transparent, futuristic-looking plastic boxes preserve what has been encapsulated. With their purist minimalist aesthetics, they act like "coolers" that contain and dim down the once cultic-magical and highly expressive in a modernist way. What began as an exploration of Harrison's African-American roots points beyond and becomes a commentary on the present."

Read the full article on KUNSTFORUM International

Giulia Coletti from CURA Magazine reviewed Valentin Carron's exhibition Haus und Kropf at Galerie Eva Presenhuber, Vienna: "Touching on the relationships between living beings and environmental stimuli – which often entails divergent or abnormal responses – Haus und Kropf is an attempt to expand on interspecies companionship all the while accentuating the silent solitude that often shrouds our existence."

Read the full article here.

Sam Falls was in conversation with Paul Laster from Ocula about his exhibition at Galerie Eva Presenhuber in Zurich. About his unique technique of imprinting by means of natural elements, Falls says: "The idea of removing my hand has always been important to me . . . With the patina changing, you see time passing—you see nature's take on the work."

Read the full interview here. 

Katinka Fischer from Frankfurter Allgemeine Zeitung concludes about Doug Aitken's new show at SCHAUWERK Sindelfingen: "Even in the spacious Sindelfingen exhibition space, the volume of his works only allows for a limited selection of ten items, which nevertheless provide a representative overview of his work over the past 15 years. The fact that the architecture makes it possible (and that this possibility has been used) to assemble several exhibits in one room demonstrates to the eyes and ears that Aitken's heterogeneous works are more connected than would have been clear from a separate presentation. The fact that images, light and sound effects are superimposed on one another is conducive to the effect of art. One moves through them and feels as if one is in a landscape."

Read the full article on FAZ

Julia Moritz reviewed Tschabalala Self's exhibition Spaces and Places, which was on view at Galerie Eva Presenhuber, Waldmannstrasse, Zurich, from June 10 through July 22, 2023: "Her paintings and sculpture are expansive, figurative and ornamental. The colours glow. And Self's diverse application of self-dyed and found fabrics onto canvas is well on its way to becoming a trademark. So far so bold. But what place emerges in the interstices of self-representation and ascription to others in the Self's latest works?"

Read the full article here. 

Ronald Berg at Kunstforum concludes about Martin Boyce recent gallery exhibitions: "Perhaps Martin Boyce's 'fall from grace' into the applied metier is a symptom of the fact that the patterns of autonomy and freedom of purpose are no longer strictly valid today. However, this would then at the same time formulate a condemnation of modernity as such - including its Enlightenment premises of individual freedom and responsibility. Modernity: 'Failed or unfinished?' could thus be the central question of Martin Boyce's work."

Read on Kunstforum

Sherry Paik reviewed the Taxa show for Ocula Magazine: "the Seoul exhibition places a strong emphasis on the myriad ways in which contemporary artists engage with the more traditional mediums of painting and sculpture."

Read the full article here. 

The female nude is celebrating its comeback. But instead of catering to the the male gaze, a new generation of female painters is making nude skin as a self-confident declaration of war, and the genre as the a playing field for political debate. Following research in New York studios the author Claudia Bodin also portrayed Tschabalala Self.

Read on art – Das Kunstmagazin

Following a studio visit, Shara Hughes told Vogue US: “I can’t live without painting. It’s how I live and breathe. I’m not threatened by other artists if they’re making landscapes, because I’m, well, I’m doing mine. I’m very serious about getting the works into the right places, where more people can see them, so that I can have a place in art history that’s meaningful.”

Read the full article here. 

Olamiju Fajemisin reviewed HOWL by Doug Aitken for Flash Art: “HOWL,” the current exhibition of prophetic multimedia works by Doug Atkins, accelerates through Galerie Eva Presenhuber’s Maag Areal campus with a rapid succession of recurrent and shifting motifs (specifically environmental photography, geometric abstraction, and forms of address) that culminate in a confrontation of moving image and sound.

Read the full article here. 

Mitchell Anderson from Frieze Magazine reviewed HOWL by Doug Aitken: "Far from the often-didactic and predestined narrative of a documentary, Aitken’s judgment-free and non-politicized witnessing softly opens itself to many of the optimisms and resignations of desolate, small town American life – from the people who continue to make a living off the land to the children who have to avoid ‘druggies’ on their way home from school to those who dream of leaving. It’s an affecting work, not least because it centres on a rural segment of the population not traditionally depicted or discussed – past cheap caricatures – in contemporary art and life."

Read the full artice here. 

"HOWL makes no explicit reference to Allen Ginsberg’s celebrated 1956 poem of the same name. Other than a distant echo of lines such as ‘Moloch whose love is endless oil and stone!’ But that’s not to say that Aitken doesn’t indulge in a little (concrete) poetry of his own" writes Mark Rappolt in his review of the exhibition HOWL by Doug Aitken. 

Read the full article here. 

Kate Brown at artnet wrote about Doug Aitken's HOWL: "In their arid dust-bowl of a town, huge pump jacks dot the horizon, pulsing in and out of a bone dry desert landscape to extract oil, which seems to be the main source of income of the town and also its raison d’etre. The new video, called HOWL, premiered in his solo exhibition at Eva Presenhuber, Zurich last month (it is on view through July 22), and it juxtaposes these rhythmic, unforgiving fracking machines against the voices from the people who coexist among them."

Read the full article here. 

In the interview with Elephant, Louisa Gagliardi speaks about her recent show, A Moment’s Notice, which was on view until May 25, 2025 at Galerie Eva Presenhuber, Maag Areal, Zurich, and discusses the complexities of existence in a post-internet world.

Read on Elephant.

The high-ceilinged halls of Bergen Kunsthall’s 1930s functionalist building recently housed another, quite different take on functional architecture—one conjured by American artist Oscar Tuazon. Having dissected ideological, structural, and philosophical underpinnings of architecture, construction, and Minimalist sculpture throughout his career, Tuazon’s inauguration of his ongoing “Water School” in 2016 marked a turn toward more explicitly incorporating activist themes and strategies.

Read the full article on Artforum. 

In short film HOWL, Doug Aitken considers the concept of placelessness, distilling collected interviews and footage captured within the town’s bounds in an eerie non-linear narrative reflecting its state of limbo. Here, residents face a Catch-22 between securing the town’s wealth through a questionable resource, and the inevitable decline and loss of industry associated with distancing itself from fossil fuels.

Watch the full short film on NOWNESS.

The George Economou Collection is host to Steven Shearer: Sleep, Death's Own Brother, an exhibition of paintings and printed works held in the Athens-based collection (18 June 2023–30 March 2024). Ahead of the opening, curator Dieter Roelstraete spoke to Ocula Advisory about the Shearer's transgressive perspective of the lifeless body, the decision to spotlight his practice now, and the works on show in Athens.

Read the full article on Ocula. 

Doug Aitken’s latest work, HOWL, is a 15-minute, five-channel film about an unnamed town in the American West. It’s filled with epic aerial shots of oil wells and daily life in the town, along with short excerpts from interviews with some of its residents. Those interviews take on an eerie meaning as their words echo and reverberate. It is on view at Galerie Eva Presenhuber, Zurich, Maag Areal through July 22, 2023. 

Read the full interview here. 

At this year's Art Basel, we are pleased to present Ugo Rondinone’s sculpture humanskysix (2022), which is revealed to have been cast from the body of Swiss tennis legend Roger Federer. The sculpture will be on view at our booth P5 in Hall 2.1. The Basel-born Federer collaborated with fellow Swiss Ugo Rondinone on his ambitious installation human clouds, which is the third part of the trilogy burn shine fly – an exhibition celebrating life and its seasons, rhythms, and natural elements.

Watch the documentary Portrait of a Champion here. 

Alice Goldwin reviewed Shara Hughes exhibition in Aalborg: "Known for her “invented landscapes,” Hughes’ paintings are not simply fantasy—they linger in the residue of memories and experiences. For this reason, Hughes’ paintings feel innately personal and human, though there are no actual people to be found."

Read the full article here. 

»My work doesn’t have a political agenda, doesn’t propose policy solutions, but it does acknowledge a political reality« says Adam Pendleton in his interview with Alexandra Markl for Collectors Agenda. 

Read on Collectors Agenda

"The universe I create with my art may be similar to reality, but it is dominated by distorted figures and perspectives," says Louisa Gagliardi in her feature in the BILANZ Art Basel special. Further positions mentioned in its Swiss artist ranking 2023 are Ugo Rondinone, Jean-Frédéric Schnyder, and Peter Fischli. 

Read the full article here. 

Mister Neutral: Martin Herbert investigates what lies behind the constructed guise of the amateur, the craftsman, the style-less dabbler, the cross maker, defining Jean-Frédéric Schnyder as a man of quietly huge ambitions who planned, up front, to outrun all of us while embracing a world full of difference and contradiction, of beauty and banality and brutality, leaving a trail of clues in his wake.

On Schnyderian Art: Originally published in 1990 in the pages of Parkett, this essay by Patrick Frey is an ode to the greatness of Jean-Frédéric Schnyder and his art—a mixture of trueness to life and a profoundly skeptical intelligence.

Read the full article here. 

Galerie Eva Presenhuber is proud to announce the representation of London-based Greek artist Sofia Mitsola, alongside Pilar Corrias, London. Mitsola works primarily with painting to examine the female body. By looking at figures in ancient Egyptian and Greek sculpture, Japanese animation, and pornography, she composes her own mythological characters and places them in geometrical, stage-like compositions. These are painted in vibrant colors and are layered with washes and impasto. Her paintings often feature bare, larger-than-life characters who address the viewer with their direct gaze and invite them to look back. Through this act, Mitsola forms dynamic relationships between the painting and the viewer to establish new hierarchies and play with ideas of voyeurism, power, and control.

Louisiana Channel met Hughes in her New York-studio to talk about drawing inspiration from other painters, and why she feels that a good painting is about “going to the edge and not giving away all the answers.”

Watch the video here. 

“How could I make a painting about one flower that has multiple layers to it?” says American artist Shara Hughes about her painting POP, why the genre of still life was a thing of the past and needed to be updated.

Watch the video here.

On view at Galerie Eva Presenhuber in Vienna, Bradley's current solo exhibition Rejoice: Drawing and Sculpture (21 April–25 May 2023) combines the old with the new. Joe Bradley told Elliat Albrecht (Ocula): "The idea is to get as much into the work as you can. See what the work can tolerate."

Read the full conversation here. 

Liam Gillick’s intervention in the permanent collection of Berlin’s Museum of the Ancient Near East, titled Filtered Time, opened to the public in April 2023. Using light, color, shape, projection, sound, and almost no text, his intervention comes at a time when the Pergamon Museum, in which this collection is housed, is projected to close at the end of 2023. Gillick agreed to realize his project amidst difficult debates about how to deal with these buildings and the fraught colonial histories they house, about which he spoke to Jörg Heiser. 

Read the full conversation between Liam Gillick and Jörg Heiser here. 

Among other things, the Würth Foundation honoured the Swiss-born Ugo Rondinone for his "masterful craftsmanship". This year, the prize is endowed with 50,000 euros. The prize has been awarded every two years since 1993 in memory of the Danish sculptor Robert Jacobsen (1912-1993). Previous winners have included Eva Rothschild, Yngve Holen, Alicja Kwade and Jeppe Hein.

Find out more about the prize here.

Lucas Blalock was interviewed by King Kong Magazine, for which he also designed the cover page. 

Read the interview here. 

Following the opening of ‘The Close of the Day,’ Chase Hall joins Document to discuss the American South, code switching, and how his biracial experience is far from monolithic. He says: “As we get closer to the future, and we talk about equity, and we talk about rights, it’s important for me to navigate in a way that’s honest to myself—even in that core, even in that genetic humility.”

Read the full interview here. 

The exhibition title Building at the Kunst Museum Winterthur has a programmatic character: Oscar Tuazon looks back at his architectural sculptures of the last twenty years and shows where he is heading: to his beginnings, water and language. In the house as a living sculpture all paths lead together. By Meret Arnold. 

Read the full article here.

Annabel Downes from Ocula Art Advisory interviewed Louisa Gagliardi in her Zurich studio about her upcoming solo exhibition at Galerie Eva Presenhuber, Maag Areal, Zurich. 

Read the full interview on Ocula. 

Ugo Rondinone was interviewed by Caroline-Micaela Hauger on the occasion of his current exhibition when the sun goes down and the moon comes up at Musée d'art et d'histoire, Geneva. He says: "Artists need to be authentic. I draw my inspiration from within myself."

Read the full interview on Schweizer Illustrierte. 

Yuki Higashino reviewed the exhibition Leaving the New World by the US-American artist John Dilg, which was on view at Galerie Eva Presenhuber, Vienna, from January 14 to February 18, 2023. He says: "Dilg is highly skilled, and his painterly erudition is unmistakable. He gives shape to an idea of a place that might have but did not come into being." 

Read the whole review here.

A sale of contemporary art co-curated by artist Adam Pendleton and tennis champion Venus Williams will raise money for the restoration of singer and civil rights activist Nina Simone’s childhood home, years after a group of artists purchased the house in order to protect it and preserve Simone’s legacy.

Read on The Art Newspaper.

'It seemed early on like my work was less problematic in Asia,' Rødland said ahead of his exhibition in Seoul, presented by Galerie Eva Presenhuber in collaboration with Taxa. The show will open on March 17, 5 pm, and is on view until April 28, 2023. 

Read the full article here. 

Discover the limited edition of 20 belts numbered and signed by Mark Handforth created for J. Hopenstand. Borrowing from ready-mades, pop art and minimalism, he uses elements of the urban landscape to create structural masterpieces. Lampposts, street signs and neons are distorted, bent, twisted and full of symbolism, confounding our vision of urban infrastructures.

Discover more about the project here. 

Josh Smith is among the artists who showcase their art at the new 8,500-square-foot flagship store of Supreme New York in West Hollywood, Los Angeles.

Find more about the project here. 

Torbjørn Rødland’s exhibition Old Shep at Galerie Eva Presenhuber, Zurich, Maag Areal, was reviewed by Gallery Talk. 

Read the full article here.

Gareth Harris reviews when the sun goes down and the moon comes up, an exhibtion by Ugo Rondinone at the Musée d'art et d'histoire de Genève. The artist draws extensively from the institution’s rich holdings of Swiss art's giants Ferdinand Hodler and Félix Vallotton. 

Read the full article here. 

Sam Falls’ exhibition We are Dust and Shadow at the Museum of Contemporary Art in Cleveland was reviewed by Artnet. Sam Falls on making art out of nature to capture the nature of time: ‘I’m after something more sublime.’

Read the whole article here. 

Ugo Rondinone and Roger Federer announce their collaboration 'Portrait of a Champion'. In Rondinone’s 'burn shine fly', the athlete agrees to be known as 'Cloud Six'. He takes a leap from simply admiring the art to becoming a part of it.

Watch the full video here.

Tschabalala Self's exhibition "Make Room" at Le Consortium/Dijon was featured in Flash Art. Self’s desire is to “create a cultural vacuum in which bodies can exist for their own pleasure and self-realization. Their role is not to show, explain, or perform but rather ‘to be.'”

Read the whole article here.

Anthony Huberman was appointed Executive Director of the John Giorno Foundation and Artistic Director of The Bunker.

Read the full announcement.

purple Magazine published an interview with the artist Doug Aitken. Aitken says: "The continent stops, and you find yourself looking out at the infinite horizon, and there’s nothing there — you’re looking out at the idea of the future, at what could be."

Read more on purple Magazine

Max Henry from SPIKE Magazine reviewed Sam Falls' exhibition at Galerie Eva Presenhuber, Vienna. Henry writes: "Taking cover on a raw, blustery winter afternoon, I step inside the warm confines of Galerie Eva Presenhuber, Vienna, to enter the world of Sam Falls and his botanical memento mori."

Read more on SPIKE Magazine

Muse Magazine dedicates a photo feature on Torbjørn Rødland's exhibition Old Shep at Galerie Eva Presenhuber, Maag Areal. The editorial team writes: "Rødland appeals to our general visual memory, but not without disrupting it in an almost surrealist manner."

Read more on Muse Magazine

Artspace dedicated an article on Ugo Rondinone's great year. They write: "That’s quite a win for the artist, and next year looks just as promising. Look out for a huge outdoor show in Germany in 2023 at the Städel Garden Halls in Frankfurt."

Read more on Artspace

Karen Kilimnik's recent solo exhibition at Galerie Eva Presenhuber, Vienna, is reviewed by Sabrina Tarasoff for Mousse Magazine. Tarasoff writes: "Like teasing meaning from whatever’s intercalated between the forever-equivocal face of Kirsten Stewart as immersed in elusive Alpine cumulus, Kilimnik floats ideas in the midst of her chosen motifs, allowing the recherché referent to become impressionistic and subject to its own un-resolve, or unmooring."

Read on Mousse Magazine

Carole Kittner from Tribune Des Arts dedicated a major article on the artist Louisa Gagliardi. In the article and interview, the artist is talking about the beginnings of her career, her influences, and future exhibitions.

Read more on Tribune Des Arts

At last month’s Paris Fashion Week, Akris’s 100th anniversary Spring 2023 show was staged on the outdoor square between the Palais de Tokyo and the Musee d’Art Moderne—a fitting location for a brand that prides itself on being at art’s intersection. The outdoor fountains were appropriately festive for the occasion, adorned with a large Ugo Rondinone rainbow that read “We Are Poems.”

Read more on ArtNet News

Listen to Dior Talks podcast series, themed around the seventh edition of Dior Lady Art and hosted by Paris-based journalist Katya Foremanas, where artist Shara Hughes shares her vision for the Lady Dior bag. Evocative of escape, the two creations establish an outsider’s perspective peering into another universe. The scenic painting serves as portals as a parallel to the bag itself being an object that stores mysteries inside. With sleek paintings and textural embossments, the bags fulfill this enchanting concept.

Listen to the Podcast here

On the occasion of Shara Hughes’ exhibition Time Lapsed at Kunstmusem Luzern, an accompanying catalogue is published with DCV Books. Shara Hughes describes her pictures and drawings as psychological or invented landscapes. Her cliff coasts, river valleys, sunsets, and lush gardens, often framed by abstract patterns, might be the settings of fairy tales or scenes from paradise.

Find out more about the publication

Artflyer recently published a major article and interview with the artist Jean-Marie Appriou. In the interview, Appriou says, “What interests me is to go beyond this imaginary surface that the mirage, or the world, is. This Alice in Wonderland or William Blake trick of the passage. The door to another state. When we are in front of a work of art, we don’t know what happens, it is indescribable, but we pass through a door to a state of superior consciousness.”

Read more on Artflyer

Shara Hughes’ exhibition Time Lapsed at Kunstmuseum Luzern, Lucerne is reviewed by Ramona Heinlein for Texte zur Kunst.

Read more on Texte zur Kunst

Kunstforum International recently dedicated a major interview for Ugo Rondinone. Heinz-Norbert Jocks talks to the artist about the beginnings of his career, his influences, and the artists' different exhibitions over the past year.

Read more on Kunstforum International

For the podcast Cerebral Women, host Phyllis Hollis talks to Tschabalala Self about her work, her inspiration and passion.

Listen to the Podcast here

Doug Aitken’s solo exhibition, Flags and Debris, at The Israel Museum in Jerusalem is the subject of a feature by Barry Davis in The Jerusalem Post. The feature discusses how Aitken’s current show at Israel Museum is a reflection of the woeful social distancing, self-incarceration state of affairs in 2020.

Read more on The Jerusalem Post

Shara Hughes suspends time with dazzling, otherworldly landscapes in her new exhibition Time Lapsed at Kunstmuseum Luzern.

Read more on Artnet News

For The Art Newspaper’s podcast A brush with… Ben Luke talks to Adam Pendleton about the artist’s influences in the worlds of literature, music and art, as well as the cultural experiences that have shaped his life and work.

Listen to the Podcast here

For Vogue’s August issue, Chase Hall was profiled by Dodie Kazanjian. The article discusses Hall’s fiercely independent and deeply inspired artistic practice which is informed by questions of identity and belonging. Kazanjian writes, "A self-taught artist with boundless energy and a lot to say, he has emerged virtually overnight as a strong and highly original new voice."

Read on Vogue

Wyatt Kahn discusses his Public Art Fund exhibition, Life in the Abstract, with Roger Clark for NY1. Life in the Abstract is Kahn's first public art exhibition, comprising seven new monumental sculptures fabricated in Cor-Ten steel. Each sculpture juxtaposes components adapted from Kahn’s abstract canvas paintings with “readymade” items from his domestic life. 

Watch on NY1

Karen Kilimnik's exhibition, Early Drawings 1976 – 1998, is reviewed by Johanna Fateman for Goings On About Town in The New Yorker. Fateman writes, "The diverse works on view are unified by the artist’s inimitable hand and wry humor—and by their lustrous gilt frames, which strike the perfect note of irony, fantasy, and understated camp."

Read on The New Yorker

Artist Louisa Gagliardi recently spoke to Louisa Elderton about her large-scale painting for the 2022 edition of Art Basel Unlimited. Gagliardi describes the work in reference to an atmosphere of “opening random doors and observing whatever scenes hide behind them. That’s what I want the work to feel like. Sometimes you open a door to an empty room that has a peaceful stillness, but it’s still eerie because of the potential for activation...” 

Read on Flash Art

Ugo Rondinone's solo exhibition, burn shine fly, at Scuola Grande di San Giovanni Evangelista in Venice is the subject of a feature by Stephanie Bailey on Ocula Magazine. The feature discusses how Rondinone's artworks reflect on common experiences of love and loss, particularly in relation to works by the late John Giorno. 

Read on Ocula Magazine

At seventy-two, Carroll Dunham is one of the most successful and well-respected American painters of his generation. The artist recently sat down with the writer Naomi Fry for a conversation about painting, the body, repression, and family.

Read on The New Yorker

Eva Presenhuber discusses her return to her home country of Austria and why she has decided to open a gallery in Vienna after years of operating out of Zurich and New York. Tobias Pils introduces his inaugural exhibition, Between Us Space, featuring Gerwald Rockenshaub, and reveals how the collaboration came about.

Read on Die Welt

Chase Hall discusses his debut solo show in Europe—a collection of paintings and portraiture titled Clouds in My Coffee on view at Galerie Eva Presenhuber in Zurich. Despite exhibiting internationally, many of the ideas he’s currently working through are rooted in American history.

Read on W Magazine

At the Performa Biennial last October, artist Tschabalala Self presented her first-ever live performance. Besides writing the script and directing the actors, Self also painted the backdrop and designed the costumes, produced in a special collaboration with UGG. The first seven pieces from UGG x TS will be available online and in selected stores on March 1.

Read on Vogue

Doug Aitken’s awe-inspiring work comments on the aesthetics of the future and the conflict between modernity and nature. Now, he is pushing his eye-popping sensibility even further with a new exhibition that spans four galleries in different cities and exists mainly in the form of virtual reality. Learn more about booking your VR experience in Zurich here. 

Read on ARTnews

Galerie Eva Presenhuber, which maintains locations in Zurich and New York, and is set to open another in Vienna, will now represent Chase Hall, whose work is currently on view at the Los Angeles County Museum of Art in a show of Black portraiture. Hall’s first solo exhibition with the gallery will open at Galerie Eva Presenhuber, Waldmannstrasse, Zurich, on March 4.

Read on ARTnews

Eva Presenhuber will open her second gallery since the beginning of the pandemic, this time in Vienna. The gallery will open on April 2 with an exhibition of Austrian native Tobias Pils, featuring an intervention by fellow Austrian Gerwald Rockenschaub.

Read on Artnet News

At Performa 2021, Tschabalala Self will bring to life characters from her paintings in a performance entitled Sounding Board. Understanding this commission as an invitation to experiment with the medium of performance, Self has written and designed an intimate work of theatre.

Read on Frieze

Amy Feldman’s paintings have been gray for over a decade, a commitment which would be bold were it not so seemingly innate. In the Brooklyn-based artist’s alluringly abstract works, shapes float amidst gray-washed cosmoses layered with coats of gesso, paint, and more paint.

Read on TheGuide.art

Much recent figurative painting has sought, admirably but with some obviousness, to invert and destroy the genre’s entrenched hierarchies. More subtle is Steven Shearer’s examination of portraiture through the lens of those who construct and consume it. 

Read on Artforum

Adam Pendleton is rethinking the museum. Who Is Queen? at MoMA is the artist’s most personal and ambitious show yet, exploring how we might live beyond labels in American society. “I want to overwhelm the museum,” he said.

Read on The New York Times

It’s not easy to catch up with Sam Falls, an artist who is almost always on the move. From the remote woodlands surrounding New York City to the Mojave desert in super bloom, Falls travels the country in his camper van making unusual portraits of nature.

Read on Artnet News