émergent, London (2026)

21/09/2026

Adrienne Maki at Super Super Markt

Find our full list of highlighted exhibitions available on our website.

“Volumen serves as a sequel and extension of my exploration in painting as volume. This show contends with the relationship between surface and form as the conventional rectilinear painting surface is transfigured into curvilinear wall-bound sculpture. Paint mingles with metal leaf to capture the frenetic energy of light as it bounces, casts shadows and illuminates the varied surfaces of the volumetric forms. Volumen is an exhibition which hinges on the meditative nature of viewing. How we sit in a work, assume our reflection and bear witness to the passage of time.”

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Images: 1. Adrienne Maki, Volumen 4 (Of the Fireflies), 2026, Distemper, ink, and metal leaf on linen, 93 x 68 x 14 cm 36⅔ x 26¾ x 5½ inches. Courtesy of the artist and Super Super Markt, Berlin. Photo: Philipp Hänger / Courtesy of the artist and Kunsthalle Basel, Basel. 2. Volumen 7 (Love Power Peace), 2026 Volumen 7 (Love Power Peace), 2026 Volumen 7 (Love Power Peace), 2026 Volumen 7 (Love Power Peace), 2026 Volumen 7 (Love Power Peace), 2026 Adrienne Maki, Volumen 7 (Love Power Peace), 2026, Oil and metal leaf on linen, 93 x 68 x 14 cm 36⅔ x 26¾ x 5½ inches. Courtesy of the artist and Super Super Markt, Berlin. 3. Adrienne Maki, Volumen 3 (Spiritualized), 2026, Metal leaf and gesso on linen, 93 x 68 x 14 cm 36⅔ x 26¾ x 5½ inches. Courtesy of the artist and Super Super Markt, Berlin.

16/09/2026

‘In Performance: Jeremy Toussaint-Baptiste’s ‘Unmarked Car (S.L.A.B.), pt. 2’

Find the full video and more on our website’s Video platform. Link in bio!

“Toussaint-Baptiste’s mobile sculpture is a decommissioned Ford Crown Victoria—with tinted windows and a carceral security barrier—that has been transformed from an object of surveillance and violence into a low-frequency musical instrument and amplifier of Black cultural practice. Audience members may experience the event from outside of the vehicle or in the driver’s seat.”

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Excerpts from 'In Performance: Jeremy Toussaint-Baptiste’s ‘Unmarked Car (S.L.A.B.), pt. 2'. Courtesy of Hauser & Wirth. Originally published on YouTube.

14/09/2026

ULTIMATE CHARGE at Andersen's Contemporary

Find our full list of highlighted exhibitions available on our website.

"Twelve fireworks fountains in varying sizes, painted in hot pink, silver, vivid orange, and other vibrant colours, has occupied the gallery space. Standing upright, powerful and ready for ignition. With names such as Lady Liberty, Solar Wave, and Mount Etna, it implies that something spectacular, explosive, and extraordinary is about to take place. A soundscape shifting between silence and thunderous detonations emphasizes the tension between anticipation and release.

This tension sets the stage for ULTIMATE CHARGE, a collaborative exhibition by Sylvie Fleury and Esben Weile Kjær at Andersen's Contemporary.
Bringing together two artists from different generations, the exhibition explores themes of desire, consumerism, spectacle, and popular culture."

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Image: Installation view, Sylvie Fleury & Esben Weile Kjær: ULTIMATE CHARGE (2026). Courtesy of the artists and Andersen's Contemporary, Copenhagen. Photo: Malle Madsen.

11/09/2026

This week on Recommends, David Ostrowski shares four videos that have stayed with him.

David Ostrowski (*1981 in Cologne) lives and works in Cologne. Ostrowski is an artist and professor of painting at the State Academy of Fine Arts in Karlsruhe.

His selection includes: Bus Scene - Lui è peggio di me, Adriano Celentano, 1985 – C’était un rendez-vous, Claude Lelouch, 1976 – The Nothing Pitch, Seinfeld, 1992 – Harmony Korine at Late Show with David Letterman, 1995

Watch David's recommendations on our website. Link in bio!

09/09/2026

Housekeeping in a Dangerous Time

Find our full list of highlighted exhibitions available on our website.

"Curated by LInesa Brašiškė, Edgaras Gerasimovičius, Povilas Gumbis.

With a nod to Bruce Cockburn’s 1984 song Lovers in a Dangerous Time, the exhibition is permeated by the question of the intergenerational contract. On the one hand, it considers the forms of care we owe to the generations leaving and entering the world amid deepening wars, demographic change, economic stagnation, and ecological crises. On the other, it focuses on the digital social spaces embedded in everyday life that foster widespread social infantilisation—spaces governed by algorithmic systems driven by consumerist imperatives, where the boundaries between maturity and immaturity increasingly blur."

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Images: 1. Ryan Gander, Do ghosts have teeth?, 2024. PVC, ink, 370 × 370 × 370 cm. Courtesy the Artist and Esther Schipper. Photo by Andrej Vasilenko 2. Phung-Tien Phan, Tony 2, 2023. Aluminum, cable ties, cloth cord, digital print on paper, doll clothes, glass bottle, marble, paper napkins, silicone, steel wire, stone, wood, 80.5 × 24 × 155 cm. Courtesy the Artist and Édouard Montassut. Photo (detail) by Andrej Vasilenko 3. Niklas Taleb, Boy at risk II, 2021. Digital C-print mounted on aluminum dibond glass, tulipwood frame, multiplex inner frame, 71 × 105 × 2.8 cm. Courtesy the Artist and Édouard Montassut. Photo by Andrej Vasilenko

07/09/2026

Shuang Li at Kunsthalle Basel

Find our full list of highlighted exhibitions available on our website.

“Entering Alliance means embarking a journey: a state of motion on unstable ground unfolding across the exhibition spaces. Amidst fragmented landscapes, billboards, flickering lights, and shifting weather maps, movement itself becomes the only form of orientation. Shuang Li stages the exhibition as an ongoing attempt to catch a tornado.

The image of the extreme storm functions for Li both as a concrete meteorological event and as a metaphor for contemporary media environments and their incessant circulation of information. Much like tornadoes forming over flat landscapes, today’s media infrastructures operate via conditions of leveling.”

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Images: 1-3. Installation view, Shuang Li: Alliance (2026). Photo: Philipp Hänger / Courtesy of the artist and Kunsthalle Basel, Basel.

04/09/2026

‘Raphaela Vogel, "Uterusland" (2018)’

Find the full video and more on our website’s Video platform. Link in bio!

“The filming location for Raphaela Vogel's "Uterusland" was her birthplace Nuremberg, or more precisely the "Palm Beach" spa where she went as a teenager, this time with a lifelike looking baby doll. Camera operator, editor, costume and lighting designer, sound technician: Raphaela Vogel typically occupies all of these roles, including that of sole human protagonist of her videos. Thus if there is a thread that runs through the artist’s work like a red-hot vein, it is the centrality
of the artist herself, unabashedly exposed and exposing; if not literally naked, then metaphorically so, baring it all. Inserting her lone self into a world of men, Vogel is a defiant agent, powerful and in your face, controlling her image in a cheeky rebuttal to masculine authority and everything it has for too long claimed as its own.”

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Excerpts from 'Raphaela Vogel, "Uterusland" (2018)' Courtesy of Kunsthalle Basel. Originally published on YouTube.

02/09/2026

Wilhelm Sasnal (Wilhelm Sasnal) in conversation with Charlie Mills (𝕮𝖍𝖆𝖗𝖑𝖎𝖊 𝕸𝖎𝖑𝖑𝖘 ☺︎) for our latest Issue 15.

"For Sasnal, the examined past and present are exchangeable and activate each other, articulated equally through semiotic and sentimental means and expressed in as if the fragmented essence of a memory."

Wilhelm Sasnal (b. 1972, Tarnów, Poland) studied architecture at the Krakow University of Technology (1992-1994) followed by painting at the Academy of Fine Arts in Krakow 1994-1999). Sasnal has exhibited internationally with major solo exhibitions including Grey Eyes, Espace Louis Vuitton, München (2026); family / history, Sadie Coles HQ, London (2026); Painting as Prop, Stedlijk Museum, Amsterdam (2024); Sadie Coles HQ, London (2024); Under the Asphalt, Longlati Foundation, Shanghai (2023); Such a Landscape, POLIN Museum of the History of Polish Jews, Warsaw (2021); Sadie Coles HQ, London (2020); ENGINE, Kistefos-Museet, Jevnaker (2018); Sleep, Sadie Coles HQ, London (2018); Take Me To The Other Side, Lismore Castle Arts, Ireland (2014); Haus der Kunst, München (2012); Whitechapel Art Gallery, London 0011); K21, Düsseldorf, and Centro De Arte Contemporaneo, Malaga both 2009); Wilhelm Sasnal - Years of Struggle, Zacheta Narodowa Sztuki, Warsa. (

31/08/2026

Regift at Swiss Institue

Find our full list of highlighted exhibitions available on our website.

“To mark its 40th anniversary, Swiss Institute revisits Regift, the landmark 2009 exhibition originally organized at SI in New York by John Miller with Piper Marshall. Co-produced by Swiss Institute and Luma Foundation, the anniversary edition is presented at Luma Westbau, bringing together original participants alongside an expanded selection of artists whose practices engage with questions of generosity, exchange, and value in contemporary contexts, with over 50 artists across two floors reflecting four decades of SI’s program and international networks.”

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Images: Installation view, Regift (2026). Courtesy of the artists and Swiss Institute, Zurich.

28/08/2026

Alice Ding at Hans Goodrich

Find our full list of highlighted exhibitions available on our website.

“Polyvalent, yet flat; the projects navigate a tender seam between something and hard nothing. Really, is this about percentages? Someone said the best work here is not locatable as either art or non-art. True. Mired in an uncanny valley, a mushy middle, the selection of materials provokes an uncomfortable feeling of incompleteness, lack. You work through little psychological, interpretive hiccups, not huge societal issues. It seems you need a whole field of these kinds of minor art inflections to get the right effects, but the reception will not be uniform.”

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Image: Alice Ding, Untitled, 2025/2026, Inkjet print, sticker, 22.9 × 35.4 inches, Edition 1 of 5 + 2 AP. Courtesy of the artist and Hans Goodrich.

émergent

21/09/2026

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14/09/2026

11/09/2026

09/09/2026

07/09/2026

04/09/2026

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31/08/2026

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