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Stepping into Esteban Chanez’s The Beasts (Les Bêtes) feels less like entering a gallery than trespassing into the sanct...
09/12/2025

Stepping into Esteban Chanez’s The Beasts (Les Bêtes) feels less like entering a gallery than trespassing into the sanctum of a parallel mythology—one sculpted not from inherited doctrines but from fugitive ecologies and misfit imaginings.

What unfurls across the room is not an exhibition but an ecosystem, a cross-species pageant of ceramic beasts and vegetal matter that sidesteps natural history in favor of speculative folklore. These are not animals; they are agents of unlearning. .chnz

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Amidst the shrill anxieties of late capitalism and the synthetic myths of Silicon Valley futurism, Murray Ballard’s phot...
04/11/2025

Amidst the shrill anxieties of late capitalism and the synthetic myths of Silicon Valley futurism, Murray Ballard’s photographic project The Prospect of Immortality emerges not as documentation but as a metaphysical autopsy of our desire to outlive ourselves.

For nine years, Ballard infiltrated the uncanny habitats of cryonics culture—a community dispersed between Peacehaven’s pensioner calm and the technocratic sterility of Arizona’s Alcor labs, all the way to KrioRus’ makeshift facilities on Moscow’s decaying fringes.

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At Mendes Wood DM, Precious Okoyomon’s exhibition It’s important to have ur fangs out at the end of the world unfolds li...
04/11/2025

At Mendes Wood DM, Precious Okoyomon’s exhibition It’s important to have ur fangs out at the end of the world unfolds like a fever dream whispered by a child in the dark — tender, erotic, and faintly apocalyptic.

The show gathers drawings, wallpaper, dioramas, and monumental plush sculptures to weave a cosmology where intimacy, ecology, and spiritual collapse coalesce. What appears, at first glance, as unbearably cute — chubby bears in lace underwear, wide-eyed and glowing — quickly reveals itself as an exploration of what it means to exist relationally in a dying world.

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Brendon Burton’s Epitaph unfolds like a requiem for a country that once believed itself infinite. His photographs—abando...
03/11/2025

Brendon Burton’s Epitaph unfolds like a requiem for a country that once believed itself infinite. His photographs—abandoned homes sagging into the earth, solitary headstones in desolate plains, a goat staring down the camera outside a weathered farmhouse—are less about decay than about persistence. They record not death, but the long afterlife of what was built and left behind.

Over ten years, Burton roamed the northern Great Plains and the Pacific Northwest, tracing the faint pulse of forgotten structures. In Epitaph, “the quiet desolation and hidden histories that linger in these spaces” emerge as fragments of a larger mythology. The series functions as both an archaeological and metaphysical excavation—one that collapses the distinction between ruin and relic. His houses do not merely crumble; they seem to breathe in slow time, suspended between collapse and endurance.

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† courage to change † god, grant me the serenity to accept the things i cannot change, courage to change the things i ca...
03/11/2025

† courage to change †
god, grant me the serenity to accept the things i cannot change, courage to change the things i can, and wisdom to know the difference

Totsuko Higurashi

In AT LEAST ANGELS WATCH OVER ME, Natasha Perova stages a ghostly communion between tenderness and circuitry. Installed ...
27/10/2025

In AT LEAST ANGELS WATCH OVER ME, Natasha Perova stages a ghostly communion between tenderness and circuitry. Installed in the crumbling tiled skeleton of fābula HQ — a former industrial space that feels more morgue than gallery — her works pulse with a strange, machinic empathy.

Transparent biomorphic forms dangle from IV drips, metallic organs glisten like failed prototypes, and across the walls hover digital prints with confessional slogans: “ACTUALLY, I AM NOT EXTREMELY DEPRESSED,” “I HAVE AN INCREDIBLE RELATIONSHIP WITH MYSELF.” The phrases feel lifted from the half-ironic optimism of the internet’s wounded self-help vernacular. It’s as if the artist has scraped the emotional residue of the post-digital self and pinned it against the tiles for autopsy.

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In valeurs refuge, Natacha Donzé turns the max goelitz gallery into a landscape of charged surfaces and sacred residues....
27/10/2025

In valeurs refuge, Natacha Donzé turns the max goelitz gallery into a landscape of charged surfaces and sacred residues. Her paintings hover in an ambivalent zone, balancing intimacy and abstraction, emotion and immaculate surface.

The atmosphere is luminous and synthetic, lingering like a digital afterimage—an image not seen but remembered, filtered through devotion, consumption, and ancient symbols of love and decay.


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In Beyond the Lake, Carlos Folgoso Sueiro returns to Galicia not as a son reclaiming home, but as a witness to its quiet...
24/10/2025

In Beyond the Lake, Carlos Folgoso Sueiro returns to Galicia not as a son reclaiming home, but as a witness to its quiet unraveling.

His images—of drowned villages, charred forests, and solitary figures—are less documentary than dream. They move between the spectral and the real, like memories resurfacing from beneath a lake. “We are the result of our past,” he declares, and the phrase becomes both diagnosis and mantra, an understanding that history is never buried—it only sinks, waiting for drought to bring it back to the surface.

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In Igor Elukov’s Book of Miracles, the Arctic is no longer a landscape—it’s an organism. A sentient, uncooperative entit...
23/10/2025

In Igor Elukov’s Book of Miracles, the Arctic is no longer a landscape—it’s an organism. A sentient, uncooperative entity that resists the artist’s control while collaborating with him in acts of quiet transcendence.

His world is one where theology dissolves into weather, where myth grows out of frozen soil, and where the sacred is found not in revelation, but in erosion.

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† you don’t need doubt because you already know † Ram Dass
20/10/2025

† you don’t need doubt because you already know †
Ram Dass

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