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Elephant Magazine Life Through Art

“When Italian composer Caterina Barbieri was contacted by Pietrangelo Buttafuoco, president of the Venice Biennale, aski...
17/11/2025

“When Italian composer Caterina Barbieri was contacted by Pietrangelo Buttafuoco, president of the Venice Biennale, asking her to take the reigns of La Biennale Musica as the festival’s youngest ever artistic director, the call to action was clear: a revolution was in order.”

Gary Grimes () writes of a revolution in sound: Caterina Barbieri’s Vision for La Biennale Musica ().

Morgana ‘Before Darkness Gated Us‘ Photo by Andrea Avezzù, courtesy La Biennale di Venezia

“My thoughts. My deep dark fears and my darkest vulnerabilities echoing in my brain.” - Lorena Pipenco, when asked what ...
15/11/2025

“My thoughts. My deep dark fears and my darkest vulnerabilities echoing in my brain.” - Lorena Pipenco, when asked what the soundtrack to her life is.

When Lorena Pipenco () and Gwyneth Giller () sit down for a drink, Girl Talk turns a little bit (okay, very) chaotic.

Photos by Ramona Wang
Produced by Ojeras .pm

“When life was so restricted, those trips felt like freedom. For many of the participants, it was their first time outsi...
14/11/2025

“When life was so restricted, those trips felt like freedom. For many of the participants, it was their first time outside South Florida. It became a trade: they helped make the photographs, and in return, they got a transformative experience.”

Isabella Marie Garcia () joins photographer Josh Aronson (.usa) to discuss masculinity in crisis, the loneliness behind the Florida Man myth, and the radical potential of tenderness in the Southern landscape.

All photography by Josh Aronson

Po*******hy, Human Excrement and Desperation: Mire Lee Isn’t Afraid of the Grotesque“The world of sexual fe**sh and po**...
13/11/2025

Po*******hy, Human Excrement and Desperation: Mire Lee Isn’t Afraid of the Grotesque

“The world of sexual fe**sh and po*******hy fascinates me because it exposes the depth of human desire. It’s like dreaming: when you think of yourself as a composed, functional person or whatever, your dreams reveal the most irrational, grotesque corners of your mind. Po*******hy, in a way, does the same — it never fails to expose the gross and tacky parts of being a human.”

Nora Arrhenius Hagdahl () uncovers how Mire Lee captures what it means to be both human and machine.

All photography by Heikki Kaski ()

“In her conversation with Mujinga for the exhibition’s catalogue, Gumbs invokes the convergence of the earthly and the o...
12/11/2025

“In her conversation with Mujinga for the exhibition’s catalogue, Gumbs invokes the convergence of the earthly and the otherworldly by likening Skin to Skin to a forest ceremony. It’s an image that aptly locates Mujinga at the crossroads of human and non-human intimacies, yet even that opposition feels inadequate when applied to a practice that has, for so long, complicated the very border between these two categories. In Mujinga’s universe where all is illuminated by an alluring yet estranging light, one that obscures more than it reveals, our certainty about categories and ideas, much like the distinction between object and reflection, is rendered unstable.”

Tendai Mutambu () on Skin to Skin, Sandra Mujinga’s () new installation at Amsterdam’s Stedelijk Museum, where murmurming, mirrored figures blur the lines between what is human and what descends from other worlds.

Also, keep an eye out for Sandra’s performance later this month at .

Installation view Sandra Mujinga – Skin to Skin, Stedelijk Museum Amsterdam, 2025. Photo: Peter Tijhuis

“Before New Yorkers enter their yearly phase of seasonal depression, many are going out for one last hurrah. From long-a...
11/11/2025

“Before New Yorkers enter their yearly phase of seasonal depression, many are going out for one last hurrah. From long-awaited museum retrospectives to experimental installations tucked away on side streets, the city’s creative calendar is packed with reasons to bundle up and head out. October through December is when New York’s art world feels both reflective and restless, looking back at the year while pushing into new territory. It’s the perfect time to celebrate. Expect surprising debuts, bodies of work you’ve always dreamed of seeing, and plenty of conversation-starters for future cocktail parties that capture the spirit of what’s happening in New York City in late 2025.”

The final months of the year bring a rush of new exhibitions, performances, and pop-ups to Big Apple. From contemporary art to fashion, Jo Rosenthal () brings you the new and now in the city this autumn and winter.

© Surrender Dorothy

“Woodcarving is a popular form of mindful resistance to the omnipresence of screens and digital devices. Claerbout, howe...
10/11/2025

“Woodcarving is a popular form of mindful resistance to the omnipresence of screens and digital devices. Claerbout, however, transforms this gesture of withdrawal into a conceptual paradox: he presents, on a screen, an activity designed precisely to evade it – extended over a twenty-hour duration. As the exhibition curator Ory Dessau observes in its catalogue, the work functions as “a ruthless deforestation machine disguised as an image of mindfulness,” exposing a latent violence underlying both ecological exploitation and aesthetic contemplation.”

At Konschthal Esch () David Claerbout tests cognition through subtle distortions and the manipulation of time itself. Gabriela Acha () explores how his digital environments turn time into both medium and illusion.

Installation view. Wildfire, Mantova Pigeon and Oilworkers at Konschthal Esch. Photo by Christof Weber

“One of this year’s entrants, Doogie Sandtiger, holds the record for the largest collection of Crocs. Raised in the U.S....
08/11/2025

“One of this year’s entrants, Doogie Sandtiger, holds the record for the largest collection of Crocs. Raised in the U.S. foster care system without family, possessions, or a confirmed birthday, Sandtiger spent much of his childhood with nothing that was truly his own. The first pair of Crocs he noticed—lavender, worn by a neighbour gardening—and went on to buy was, in his words, “the first thing I had ever chosen myself.” Their slip-on design mattered more than style, having never been taught to tie his shoelaces. Today, Sandtiger’s house is lined floor to ceiling with 3,929 pairs. Some are encrusted with Jibbitz—the decorative charms designed to plug into the shoe’s holes—of which he owns more than 15,000 (he suspects he may hold the world record for these, too). The rarest pair, he says, is a Balenciaga collaboration: black platform clogs nearly four inches high. “My original goal was 366 pairs—one for every day of the year,” he explains. “When I hit that, the psychological attachment started. I began to associate them with growth, change, development—breaking out of that mindset of a homeless kid with nothing. Now I have property, a name, a life. It gave me purpose.” He is frank about his motivation: “Honestly, it’s psychological. I was always made to feel less human as a kid. At first, it was about spite—I wanted to prove I was good enough. The collection made me feel human,” he says.”

Annabel Downes () enters the curious world of collectors — from dentists hoarding celebrity molars to a man who’s built a life around 3,000 pairs of foam clogs — to understand what really fuels their compulsion.

“It took many, many sleepless nights to make this festival happen, but what keeps me going are the moments when I hear f...
06/11/2025

“It took many, many sleepless nights to make this festival happen, but what keeps me going are the moments when I hear from an artist I’ve long admired, or a new filmmaker sharing their work for the first time, saying they believe in what we’re building.”

Jo Rosenthal () sat down with Rebekah Sherman-Myntti () to talk about what inspired her to launch the iconic Downtown Festival, how the film festival has grown, and what keeps her coming back with a new vision and purpose, year after year.

Photography by Chiara Gabellini ()

“When I began working towards this show, I felt an intuition that I needed to approach things quite differently from wha...
05/11/2025

“When I began working towards this show, I felt an intuition that I needed to approach things quite differently from what I’d been doing for years. The intactness of my usual narratives didn’t feel appropriate anymore. In light of what’s happening in the world, it felt more truthful to make a show about brokenness — to work with fragments of figuration rather than complete scenarios.

The political turns of the year had a big impact on me, particularly Trump’s re-election. I didn’t expect it to affect my artistic approach so directly. My work usually comes from a sense of playfulness, and I realised I’d arrived in circumstances that don’t make you want to play anymore. That was the problem I was facing.”

Annabel Downes () speaks with Agnes Scherer () about Stargazing Masks, an exhibition that turns the remnants of celebration into a reflection on the future of art in turbulent times.

Stargazing Mess, 2025. Mixed media installation.

“I enjoy being part of the behind-the-scenes aspect. It can be frustrating not to get the recognition sometimes, as work...
04/11/2025

“I enjoy being part of the behind-the-scenes aspect. It can be frustrating not to get the recognition sometimes, as working in the production aspect is a job in itself. You take on an assistant position with an artist because you believe in the work, or you take it on because you think it’s going to better your own career, and for me, it’s both.”



We all know the names: Michelangelo, Hirst, Rembrandt, Murakami—artists whose works fill museums and shape art history. But behind such celebrated figures often stands someone, or many someones, working on the sidelines: the artist’s assistant. Jo Rosenthal () spoke to these seldom recognised, yet essential players in the creation of an artwork.

Photography by Zach Ranson

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