Cult †

Cult † do you believe?
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A pomegranate is not a symbol here but a method: a single body holding hundreds of seeds, none identical, none obeying a...
29/07/2026

A pomegranate is not a symbol here but a method: a single body holding hundreds of seeds, none identical, none obeying a trunk. This is the governing image of “Seeds know no tree.”, the interdisciplinary performance and exhibition curated by Erifyli Theofilou at New Fears Gallery in Berlin, with fourteen artists and a curatorial text by Kapno.

The premise is stated as a wound. “A performance based on non-hierarchical relationships couldn’t help but recognize that pomegranate seeds are mourning each time one separates them from each other,” the text reads, before turning the observation into a question you cannot answer cleanly: “The red splash won’t get away even if you wash it, will it?” Separation is the condition of the work, and it is treated as loss rather than as a neutral act of arrangement.


Αυγή
Valia Lolidou
Erifyli🍒Theofilou
NEW FEARS Gallery

Z̷u̷ ̷K̷a̷l̷i̷n̷o̷w̷s̷k̷a̷
ℓσℓα ɱα૮ɦαɓε૨ƭ
Eloise’s Art
Solveig Schmid
Delphine Wi**er

Andrea Mineolip

Jana
Erifyli🍒Theofilou
Sandro Mosco

Text

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In a former bathhouse lined with cracked subway tile and encaustic floor patterns, Tristan Gac hangs a row of chrome sku...
17/07/2026

In a former bathhouse lined with cracked subway tile and encaustic floor patterns, Tristan Gac hangs a row of chrome skulls that refuse to finish dying, each one gripping a drawing of the world on fire at Galerie FaVU in Brno.

The room does half the work before a single drawing is read. Whitewashed vaulted brick above, white tile wainscoting below, a floor of worn ochre tiles laced with a dark meander border: a space built for water and hygiene, now dry and clinical, faintly funereal. Along the tiled register the works hang low, at the height of a body rather than an eye. Each is a slab of raw pine, live edge intact, carved so the grain swells around a cast metal skull that seems to have been poured into the wood and left to set.



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do you?
17/07/2026

do you?

Fifteen artists across five rooms at Management in New York, and the first thing you find on the floor is a Pelican case...
14/07/2026

Fifteen artists across five rooms at Management in New York, and the first thing you find on the floor is a Pelican case, open, a tattooed silicone arm resting in the foam: Andrew Roberts’s Remake, reshoot, reprise, the body rendered as prop, as evidence, as something to be checked in and transported.

The grotesque has a long administrative history. Bosch itemized hell the way a clerk itemizes a ledger. Goya treated the disasters of war with the same methodical attention. What the curators at Management are proposing with this exhibition, now spanning multiple iterations, is that the 2020s have produced a grotesque of a different order: not the grotesque of direct suffering but of mediated suffering, a distortion amplified and circulated through platforms optimized to make horror scroll smoothly. As the press text frames it, “a fundamental difference between the past and the present demands a reconsideration of the grotesque as a response to our time”: the common experience of crisis arrives now primarily through Instagram, X, and TikTok, and the image of catastrophe arrives before its weight does.



Miriam Cahn








Sibylle Ruppert




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NADIR gathers Zishi Han and Laurence Sturla at Gianni Manhattan in Vienna around the moment a map stops telling the trut...
09/07/2026

NADIR gathers Zishi Han and Laurence Sturla at Gianni Manhattan in Vienna around the moment a map stops telling the truth, tilting the axis of looking until terrain and its history fold back on the viewer.

The lowest point is a vantage. Nadir names the position directly beneath the observer, the floor of the celestial sphere, and the works here behave as if suspended between that floor and the sky above it. Laurence Sturla’s Fieldnotes (Plant Theatre) lies in a shallow pool of black water, a graphite-dark mass that reads at once as engine block, collapsed architecture, and aerial terrain. The surrounding room falls into the water’s surface. The space overhead is folded into how the piece is seen.



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NADIR gathers Zishi Han and Laurence Sturla at Gianni Manhattan in Vienna around the moment a map stops telling the trut...
09/07/2026

NADIR gathers Zishi Han and Laurence Sturla at Gianni Manhattan in Vienna around the moment a map stops telling the truth, tilting the axis of looking until terrain and its history fold back on the viewer.

The lowest point is a vantage. Nadir names the position directly beneath the observer, the floor of the celestial sphere, and the works here behave as if suspended between that floor and the sky above it. Laurence Sturla’s Fieldnotes (Plant Theatre) lies in a shallow pool of black water, a graphite-dark mass that reads at once as engine block, collapsed architecture, and aerial terrain. The surrounding room falls into the water’s surface. The space overhead is folded into how the piece is seen.

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For one night in June 2004, Alexander McQueen turned the London catwalk into a hall of his own ghosts, restaging the mom...
02/07/2026

For one night in June 2004, Alexander McQueen turned the London catwalk into a hall of his own ghosts, restaging the moments that made him beneath a downpour that would not stop.

The water comes first. It falls in a hard, silver curtain over a floor gone white with salt, and a woman walks through it in a bias-cut sheath that the rain has fused to a second skin. On her head, a crown of black thorns. Her plaits hang like wet rope. She tilts her face up into the deluge as if it were absolution, and behind her, half-dissolved in the spray, a second figure waits her turn. Nothing about this reads as a fashion show. It reads as a rite.

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Announced in 2023 by Leo Shmunk as a hunting trophy from the front rows of fashion week, TheHunterIssue Vol.1 arrives in...
17/06/2026

Announced in 2023 by Leo Shmunk as a hunting trophy from the front rows of fashion week, TheHunterIssue Vol.1 arrives in February 2026 as something stranger: an art book that has eaten itself, kept the bones, and refused to be a season.

The cover is the first lie. A veiled figure, black-marked face under a white cross, the title THEHUNTERISSUE set across the chest, a barcode and the catalogue number 0 118809 366611 in the corner. It looks like an issue. It performs the syntax of the news-stand: branded, dated, urgent. Inside, every promise the cover makes is voided.

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sofiia yesakova, céline struger, and anzhelika palyvoda occupy favu gallery in brno with a group exhibition curated by m...
28/05/2026

sofiia yesakova, céline struger, and anzhelika palyvoda occupy favu gallery in brno with a group exhibition curated by massimiliano maglione that takes the anatomical theatre as its central device: a space in which knowledge is produced through the arrangement of bodies, gazes, and hierarchies.

the premise is not metaphorical. trauma does not survive as content, the exhibition’s curatorial text insists; it is “inscribed in the very devices of perception, producing a progressive normalization that weakens its recognizability without removing its force.” the space at favu is laid out accordingly. an elevated architectural ledge in the main hall places the public in the position of the observer above the table. steps are provided. the invitation to ascend is the exhibition’s first argument. .yesakova

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They are not children. They are not alive. And yet Gisèle Vienne’s dolls — photographed in tight, unflinching close-up a...
06/05/2026

They are not children. They are not alive. And yet Gisèle Vienne’s dolls — photographed in tight, unflinching close-up across a series spanning five years — possess a gaze so loaded with affect that the viewer’s first instinct is to look away. The pallor. The glazed eyes. The slight bruising around the cheekbones. These are faces built to unsettle, and they do their work with terrifying efficiency.

40 Portraits (2003–2008) collects the silent faces of dolls that Vienne — a French-Austrian choreographer, visual artist, and puppeteer — has created over the course of her theatrical practice. Each figure is handmade, sculpted with painstaking anatomical specificity, then dressed, wigged, and positioned with the care of a forensic reconstruction. They are composites: part adolescent, part archetype, part accusation. .gisele.vienne

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