ART NEWS:Oct. 02

 

“No History of Shapes” is  Jordan Nassar’s second solo exhibition with the Third Line gallery. The exhibition brings together a new body of multipanel embroidery works and vibrant mosaics that recontextualize the history and aesthetic traditions of Palestine. In his delicate embroidery works, Nassar introduces a new geometric language inspired by the seminal Iranian artist Monir Shahroudy Farmanfarmaian’s Convertible series, while extending his poignant inquiry of color and patterns. The mosaics echo a Byzantine mosaic found in northern Gaza, inviting viewers to imagine the whole and its embedded narratives. Nassar’s new body of intricate embroidery works continues the artist’s exploration of color and the motifs of tatreez, a traditional Palestinian form of cross-stitched embroidery. Though dense in pattern, the works carry an airy, luminous quality through the careful use of color and fine thread, evoking open landscapes of Palestine. At the same time, Nassar expands his practice by employing the structure of the Iranian artist Monir Shahroudy Farmanfarmaian’s Convertible series—multipart reliefs that can be organized in diverse configurations. Similar to Farmanfarmaian’s works, Nassar’s embroidered pieces can be rearranged to form different geometric wholes, inviting viewers to generate new meanings with each arrangement. Alongside the embroidery works, Nassar presents small-scale mosaics. Created using the ancient technique of hand-cutting glass, the pieces are near-replicas of a Byzantine mosaic found in Jabalia of northern Gaza. Info: The Third Line Gallery, No.9 Cork Street, London, United Kingdom, Duration: 8-24/10/2026, Days & Hours: Tue-Sat 10:00-18:00, https://www.thethirdline.com/

DRIFT, the Amsterdam-based studio known for choreographing the invisible relationships that connect natural phenomena, technology and human existence, unveils “Aeolus” – a new, interactive installation that captures the movement of wind through the use of glass and light. Presented in its own dedicated, expansive space at Carpenters home at Ladbroke Hall, the large-scale work creates an environment through which wind is made to move virtually. Within the context of DRIFT’s wider oeuvre, Aeolus asks what we can learn from our planet’s underlying mechanics in order to reestablish our connection to nature. “Aeolus” is a suspended sculptural installation composed of hundreds of slender glass rods hanging from the ceiling. Using digital readings of its architectural surroundings, the work visualises the invisible paths of wind as it moves through space. The glass rods of the installation are arranged to capture a single moment within this continuous flow, suspending it in time. At the heart of each glass rod in the new artwork is a small, hidden light. Together, these create a slow, shifting choreography of illumination whose changing rhythm and light intensity is activated in real time by the movement of visitors through the space. With subtle waves of light rippling across the sculpture, echoing the effects of wind, the work creates a dynamic sense of motion without any physical movement. Info: Carpenters Workshop Gallery, London, 79 Barlby Rd, Notting Hill, United Kingdom, Duration: 13-25/10/2026, Days & Hours: Tue-Sat 10:00-18:00, Sun 11:00-17:00, https://carpenters.art/

Could there be other ways of understanding the world? That question is at the heart of Amos Rex’s autumn exhibition ”The Other Side of the Mountain—Notes from African and Afro-Nordic Perspectives”, presenting 11 contemporary artists from the African continent and the Afro-N”ordic diaspora. With the exhibition, Amos Rex advances its long-term commitment to bringing world-class contemporary art to Nordic audiences and creating encounters between international artistic practices and Nordic perspectives. The exhibition’s title draws inspiration from a story in Minna Salami‘s book “Sensuous Knowledge: A Black Feminist Approach for Everyone”, in which two explorers visit the same mountain but return with completely different accounts of what they have seen. The story suggests that reality itself appears diminished when only certain perspectives are sustained and believed, and of what can become visible when other ways of understanding the world are allowed to take part. The exhibition’s artists explore urban environments and how structures within different landscapes bring people closer together or set them apart. Through African and Afro-Nordic perspectives, questions of memory, migration, identity, and movement are raised, with the urban landscape as a recurring stage. Through varying forms of expression—sound and light, glass and sand, textiles and scents—the artists give these themes a multifaceted and sensory expression. Info: Curators: Katariina Timonen and Marcia Harvey Isaksson, Amos Rex, Mannerheimintie 22–24, Helsinki, Finland, Duration: 14/0/202631/3/2027 Days & Hours: Mon & Wed-Fri 11:00-20:00, Sat-Sun 11:00-17:00, https://amosrex.fi/

With “Forget Me Not”, Aya Fujioka presents a new series that has been commissioned by BUG. Nine years ago, Fujioka received a single message from a woman living in Melbourne, Australia regarding the existence of a certain Japanese woman. This launched a creative project that spans the postwar-era to the present and bridges the immense distance between Fujioka’s hometown of Kure (Hiroshima) and Australia, a project where mysteries multiply with every new discovery, and truth is indeed stranger than fiction. The exhibition revolves around a completely new series by Aya Fujioka titled “Forget Me Not”, which includes her very first attempt at video-art. Three years in conception and production, the work deals with an unsolved personal incident. As an involved party, Fujioka witnessed a reality carved out moment by moment through her choices and the press of the shutter. Rather than a standard documentary, the experience aligns with the characteristics of a “non-fiction novel”—where the author’s perspective is conveyed through choices and creative processing becomes essential. Constructed with an ambivalent approach, the exhibition presents material grounded in the definitive facts of photography while crafting a story that stirs deep emotions. Info: Art Center BUG, Gran Tokyo SOUTH TOWER 1st floor, 1-9-2 Marunouchi, Chiyoda Ward, Tokyo, Japan, Duration: 14/10-29/11/2026, Days & Hours: Mon & Wed-Sun 11:00-19:00, https://bug.art/

Tefik Anadol’s “Winds of Hong Kong” transforms the M+ Facade into a living portrait of the city’s urban environment. Drawing on wind and environmental data gathered from publicly available sources, the work translates atmospheric conditions into an evolving ‘data painting’, allowing us to see the invisible forces that continually shape Hong Kong. Extending Anadol’s “Winds of…” series (2017–ongoing), the new commission approaches data not as something fixed to a spreadsheet but as a dynamic artistic material that can refresh our experience of Hong Kong. The work reveals the constant negotiation between natural phenomena and the built environment, tracing how the seasonal rhythms of monsoon winds interact with the cityscape and the role technology plays in contemporary society. Anadol’s work emerges at a moment when the environmental costs of advanced technologies, including the energy demands associated with generative AI, have become an urgent subject of public debate. Rather than resolving this tension, the work seeks to use the same computational tools to draw attention to an ecological story that is increasingly difficult to ignore. As extreme temperatures and weather patterns continue to impact everyday life, “Winds of Hong Kong” invites us to consider whether machine intelligence, when guided by artistic intention, can help us understand complex relationships within environmental data that exceed the limit of human vision. Info: M+ Museum, 38 Museum Dr, West Kowloon, Kowloon, Hong Kong, Duration: 14/10/2026-7/1/2027, Days & Hours: Daily every night, www.mplus.org.hk/

With “Aftergrowth”, the Crespo Foundation presents the second exhibition to emerge from the Glenkeen Garden Residencies. Under the theme “ArtNature/NatureArt”, the programme explores how art and nature—or humankind and nature—mutually re-configure each other in the era of the Anthropocene, and what fresh perspectives might be drawn from Europe’s often-overlooked rural contours. Working in groups and collectives, all the artists presented in the exhibition spent up to three months in the garden, in autumn or in spring, between 2024 and 2025. Over time, the garden ceases to resemble a fixed, picture-perfect image and reveals itself as a field of relationships in constant motion: tides swallowing the shoreline and then releasing it, branches bending and hardening in the Atlantic wind, fruit ripening and rotting where it falls. The works assembled in the exhibition grew out of this kind of time. Scent, mosses, and fixed cycles. Immersion, mimicry, and radioactive fear. Holiday homes, botháin dóibe (mud huts), and houses made of wind. Echoing and remixing the frequencies of the region through music and dance, video and computer-generated imagery, drawings and paintings, they form a constellation of Glenkeen variations. Participating Artists: Susanne Bürner, Annette Kelm, Alexandra Leykauf and Ines Kaag; Mareike Dobewall and Anthea Bush; Elise Eeraerts and Roberto Aparicio Ronda; Hana Lee Erdman and Louise Dahl; Forerunner; David Habets and Eva Gabriela Posas Rasgado; Marta Popivoda and Ana Vujanović; Eva Richardson McCrea and Matt Welch; and Sonya Schönberger, Info: Curator: Ben Livne Weitzman, Crespo Foundation, Open Space, Weißfrauenstraße 1–3, Frankfurt, Germany, Duration: 16/10/2026-24/1/2027, Days & Hours: Mon & Thu-Fri 1:00-20:00, Sat-Sun 11:00-18:00, www.crespo-foundation.de/

The solo exhibition “Et maintenant, il faut imaginer le grand nu remontant l’escalier”  [“And now, one must imagine the large nude walking up the stairs”].of Jacques Yves Bruel brings together a selection of rare works, including the iconic series “Purs-purs” and “Moises,” two paintings from the “Quantum d’affect” series, previously unseen works on paper, as well as various archival documents. It offers an opportunity to appreciate the enduring relevance of a body of work created nearly forty years ago and to pay tribute to an artist who passed away too soon—an artist whose vision, spirit, and works demonstrate a dazzling acuity and precision. Born in Nantes, Bruel carried out his work between Paris and Africa, exploring North-South relations and cultural exchanges through painting, installation, and the collection of found objects. Following his first solo exhibition at Espace Avant-Première in 1980, he developed the “Quantum d’affect” series, in which he left the imprint of his body on canvases covered with acrylic and absorbent paper. His travels in Africa led to the creation of the “Pur-purs” series, consisting of jerrycans and salvaged objects transformed into anthropomorphic figures, exploring the interactions between Western and African cultures with humor and subtlety. Info: Galerie Laurent Godin, 12 Rue Anatole France, Arles, France, Duration: 17/10/2026-7/1/2027,  Days & Hours: Wed-Sat 11:00-13:00 & 15:00-18:30, www.laurentgodin.com/

Andrea Higgins is known for her intricate paintings of fabric swatches that draw on the expressive power of textiles to create evocative, abstract portraits. Inspired by childhood trips to Britex Fabrics with her grandmother, and a fellowship in Indonesia where she observed the labor-intensive process of weaving extravagant sarongs, Higgins “weaves” textile patterns with paint. Her newest works in the exhibition “Selp-Portraits” are diptychs, in which one panel – the “woven” looking one – refers to the way skin pulls after it’s been cut and stitched back together. Higgins, a cancer survivor, is referring to her own body and the series of surgeries that have left her with physical and emotional scars. The other panels refer to one of her favorite blouses. During her illness and recovery, she found herself frequently wearing floral patterns. She attributes her attraction to them both to the flowers that surrounded her while she was ill and to the way these “cheery” clothes helped her feel comfortable with herself as she re-entered the world feeling scarred and vulnerable. Of course, every floral painting is also a memento mori. This series of paintings is the most personal the artist has ever made. It, like all of her work, is about the image one presents to the world… In this case, both a direct reference to her body and her mortality and to the way we all deal with our scars and move forward to live our lives. Info: Hosfelt Gallery, 260 Utah Street, San Francisco, CA, USA, Duration: 17/10-25/11/2026, Days & Hours: Tue, Wed & Fri, Sat 10:00-17:30, Thu 11:00-19:00, https://hosfeltgallery.com/

Kunié Sugiura presents her solo exhibition “Ubiquitous Conjunction” in Paris. Born in Japan, Sugiura moved to the United States in 1963 at the age of twenty to study at the School of the Art Institute of Chicago, where she first encountered photography as a medium and began her artistic practice. After graduation, she relocated to New York in 1967 and has been based there ever since. In 2025, SFMOMA presented a survey spanning over sixty years of her career — the first major survey of her work in the United States. Sugiura’s practice pursues photography not as an autonomous medium but as a cross-disciplinary one. Her work brings into conjunction phenomena and matter, photography and painting, images and sculpture, and disparate times and spaces. In this way, her work fully unleashes the power of conjunction, inherent in photography as a hybrid form. Encompassing darkroom experimentation — montage, solarization, photograms — Sugiura’s practice extends the experimental history of photography’s early days. At the same time, her work anticipated the expanded field of contemporary photography, in which the medium has come to be embraced as a form of fine art. Her practice stages an encounter between photography’s past and its future. Info: Curator: Ryo Sawayama, galerie frank elbaz, 66 rue de Turenne, Paris, France, Duration: 19/10-31/12/2026, Days & Hours: Tue-Sat 10:00-18:00, https://galeriefrankelbaz.com/