émergent

émergent émergent is a biannual magazine that showcases painters through
interviews, conversations and essays.

Simon Shim-Sutcliffe discusses about his visit to the Panama Canal, the psychology of an infrastructure, and its effects...
03/06/2026

Simon Shim-Sutcliffe discusses about his visit to the Panama Canal, the psychology of an infrastructure, and its effects with history and imagination with Dylan Adamson.

Find the full interview online on our website now!

“But at the same time, though I’m trying to get at the beauty that comes through these contradictions in my film, it’s so invisible when you’re actually there. People just drive by. Everything is totally ignored. After filming, many things around the lake have changed. Some of the bunkers were reactivated by the Americans. The monuments for Chinese workers were demolished. There is political maneuvering to deal with Trump’s threats to take back the canal. These strange ripple effects continue to emanate.”

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Images: 1-2. Courtesy of the artist. 3. Museum of Contemporary Art Panama. Courtesy of the artist and Museum of Contemporary Art Panama. Photographer: Alfredo J. Mártiz. 2026

Michael Ray-Von and Margherita Raso at AutokomandaThe full curated selection of exhibition highlights is available on ou...
01/06/2026

Michael Ray-Von and Margherita Raso at Autokomanda

The full curated selection of exhibition highlights is available on our website.

“I inhale clouds of gnats; whizzing insects that fit beneath my fingernail swarm about every other meter of air near the river by my home. When a few happen to strike the back of my throat, I’m enchanted by the thought that I am wandering near a fertile ecosystem. Water is the unmistakable anchor of life, as we know it. Life at the shape and scale that captures our attention and admiration has always pronounced itself around water. The precursor to human settlement can be witnessed in the crowds of all species that gather, drawn to drink, and to eat the drinkers.”

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Images: Installation view, Michael Ray-Von and Margherita Raso: Tributary, 2026. Courtesy of the artists and Autokomanda.

Reba Maybury at Secession The full curated selection of exhibition highlights is available on our website."In the Grafis...
28/05/2026

Reba Maybury at Secession

The full curated selection of exhibition highlights is available on our website.

"In the Grafisches Kabinett, twelve piles of clothing are scattered all over the floor. Over the years, various submissives have surrendered their entire outfits to Maybury as part of their sexual-economic contract. For these works named Used Men (2021–2026), the artist instructed one submissive man to enter the gallery and remove his clothes until fully naked. He was then directed to put on the garments of other submissive men, one outfit at a time, before un******ng again – each cycle leaving another pile of clothing on the floor. In addition, the scents of a variety of the most popular men’s colognes are emitted throughout the room."

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Image: Reba Maybury, I Come in Peace, installation view, Secession 2026. Photo: Lisa Rastl. Courtesy of the artist and Secession.

Recommends is the editorial feature of émergent video that invites artists, curators, gallerists and critics to share fo...
26/05/2026

Recommends is the editorial feature of émergent video that invites artists, curators, gallerists and critics to share four videos of interest. Drawn from a wide cultural spectrum—ranging from film scenes and music videos to artist talks and artworks—each selection is accompanied by a brief personal reflection.

Our latest selection is by Attilia Fattori Franchini — independent curator, writer, and founder of KUNSTVEREIN GARTENHAUS, Wild Seeds publishing house, and director of curated by festival.

Her four selections: Gino De Dominicis, Tentativo di Volo (1969) — Prodigy, Smack My Bitch Up (1997) — Sarah Morris, Capital (2000) — Meriem Bennani & Orian Barki, 2 Lizards (2020).

Read Attilia’s reflections on our new video platform.

25/05/2026

We are pleased to announce the launch of our new platform: émergent video.

This initiative is a new platform for contemporary art and culture, bringing together moving image content from artists and institutions. émergent video gathers the most vital work into a single, curated platform.

This platform also includes a curated 'Recommends' section led by voices from the arts, and a dedicated 'Channels' page where galleries' videos are shared to a growing curated archive.

The platform is now live to explore, link in our bio!

Genuine Fake Premium Economy at ICAFind our full list of exhibition highlights available on our website."This group exhi...
22/05/2026

Genuine Fake Premium Economy at ICA

Find our full list of exhibition highlights available on our website.

"This group exhibition takes the pulse of a generation living and working in a broken global economy. The acceleration of wealth inequity, art traded as investment, and today’s commodity culture are all uncomfortable realities for a growing number of emerging artists. While their work differs in form (Bliss works primarily in moving image, Ellison in photography and Gregory in painting and assemblage) all three artists share similar stylistic approaches to satirising, staging or appropriating the real. Genuine Fake Premium Economy will be the first UK institutional show for Ellison and Gregory, and a significant contribution to dialogues around artmaking in an age of scepticism towards financial institutions."

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Images:
1. Installation view, Genuine Fake Premium Economy: Jenna Bliss, Buck Ellison & Jasmine Gregory, Institute of Contemporary Arts, London, 2026. Photo: Rob Harris.
2. Buck Ellison, Jack’s Office, 2026, Orlo & Co. mug, pencil, Bic 4-colour retractable pen, Le Bristol Paris ruler, Mexican Ritalin, Kaweco fountain pen ink cartridges, New York Life Insurance Company pin, Hong Kong 20-dollar note, Arlberg ski lift ticket, GripMaster exerciser, 2026 The Simpsons daily tear-off calendar, Dude Wipes towelette, armpit hair, Engagement Chicken recipe, Orlo & Co. letterhead (Kidnap & Ransom insurance notes), Revere bowls, sailing protest flag, Color-Me-Mine piggy bank signed ‘JACK’, stormproof matches, Braun alarm clock, photograph of labrador, iPhone privacy screens, Orlo & Co. business card, Choate Rosemary Hall T-shirt (‘The World Is Our Campus’), Betty Ford memorial stamps, wedding invitation, Oura Ring. Photo: Rob Harris.
3. Jasmine Gregory, Conscious Uncoupling (Divorce), 2026, wine bottle, oil palette, ribbon, Sprüngli chocolate box, plastic, oil and glitter on linen. Courtesy of the artist, Karma International, Zurich, and Soft Opening, London. Photo: Rob Harris.

DEMOLITION/ESCAPETina Keane, Hilary Lloyd, and James Richards at FluentumWords by Lydia EarthyThe full article on the ex...
18/05/2026

DEMOLITION/ESCAPE
Tina Keane, Hilary Lloyd, and James Richards at Fluentum
Words by Lydia Earthy

The full article on the exhibition is now available to read on our website.

"Inside lies Demolition/Escape, a tripartite exhibition centred on a recently reconstructed work by pioneering British multimedia artist Tina Keane, Escalator (1988). Following an extensive reconstruction and digitisation, the piece is on display for the first time in over 30 years. The presentation, however, is not a purely historical affair: co-curators Dan Kidner and Raoul Klooker create new pathways through the work via commissions by British artists Hilary Lloyd and James Richards. Their responses are framed as contingent, with both the structure and title of the exhibition borrowed from another of Keane’s works."

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Images:
1. Tina Keane, Escalator, 1988. Installation view as part of Demolition/Escape at Fluentum, 2026. Photo: Stefan Korte.
2. James Richards, Travellers, 2026. Installation view as part of Demolition/Escape at Fluentum, 2026. Photo: Stefan Korte.
3. Hilary Lloyd, Come up and see me, 2026. Installation view as part of Demolition/Escape at Fluentum, 2026. Photo: Stefan Korte.

Josef Strau at House of GagaThe full curated selection of exhibition highlights is available on our website."Presenting,...
15/05/2026

Josef Strau at House of Gaga

The full curated selection of exhibition highlights is available on our website.

"Presenting, in no particular order or ceremony, works from the Gaga storage:

The Why Does It All Happen to Me Experience, 2010

EDITION, REPETITION, COMPETITION AND JEWELRY OF FLOWERS AND REDEMPTION, 2013

The New World: Application for Turtle Island, 2014

Loyalties, 2016

The Prototype, 2019

El Comercio de los Lamentos Finos, 2023"

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Images: Installation view, Josef Strau: Storage, 2026. Photo by: Gerardo Landa. Courtesy of the Artist and Gaga, Mexico City.

Venice Biennale 2026Words by Sofia HallströmThe full article on this year's edition is now available to read on our webs...
12/05/2026

Venice Biennale 2026
Words by Sofia Hallström

The full article on this year's edition is now available to read on our website.

"Care, here, is not metaphorical. It is a physical demand the work makes of you, however briefly. Each doll has been assigned a birth date, and a QR code unlocks a poem tied to that date which you can read whilst changing the baby's nappies. What makes the work so distinctive is the behaviour it draws out of people. Some visitors cradle their dolls instinctively, adjusting their hold, supporting the weight with the attentiveness of a new parent, whilst others carry them at arm's length, stiff and self-conscious. The mirrored sunglasses reflect these responses back at you, implicating the viewer in their own discomfort. The pavilion asks, without ever quite stating it, whether we are adequate custodians of what comes next."

From the archive: Rebecca Ackroyd talks about intuition, materiality, memory, and the tensions between works in space - ...
12/05/2026

From the archive: Rebecca Ackroyd talks about intuition, materiality, memory, and the tensions between works in space - reflecting on making as an open-ended process shaped by accident, fragmentation, and personal history.

Words by Susanna van Roessel. Find the full interview online now!

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Images: Courtesy the artist

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