HEINZ MACK JOINS ALMINE RECH | ANNOUNCING GLOBAL REPRESENTATION

April 1, 2025 (Germany) – German artist Heinz Mack announces his global representation by Almine Rech, debuting the collaboration with his first solo exhibition at the gallery, on view from May 9 to June 14, 2025, at Almine Rech in Tribeca, New York. A key figure and co-founder of the ZERO movement, Mack is celebrated for his innovative exploration of light, space, and color, with an oeuvre that ranges from paintings to monumental outdoor installations, leaving a lasting impact on contemporary art and featured in major public collections worldwide.

 “I love the story of the ZERO group, founded in 1957 in Düsseldorf by Mack and Piene and joined by Uecker in 1960. ZERO represented the zero hour, a new beginning after the destruction of the Second World War. Mack decided to use light and glass, it was like 10 years earlier but it’s echoing the Californian 'Light and Space' movement that forms the basis of the gallery's program since the 1990’s. Mack soon began to develop his painting work, abstract approach of light and space through color research.”
— Almine Rech

Heinz Mack was born in Lollar (Hesse, Germany) in 1931. He attended the Academy of Fine Arts in Düsseldorf from 1950 to 1953. At the University of Cologne, he studied philosophy until 1956, graduating in both programmes with state exams.

In 1957, Heinz Mack and Otto Piene founded the ZERO movement in Düsseldorf, which Günther Uecker joined in 1961. This art movement – to be understood as ground zero, from which new aesthetic principles and ideas were developed – drew together artists such as Yves Klein, Fontana, Manzoni, Castellani, Tinguely and Schoonhoven, who had a distinct influence on ZERO, while at the same time receiving energy and ideas from ZERO. Within a decade, ZERO became what is today considered one of the most important international avant-garde movements after World War II.

In 2014, a major ZERO exhibition opened at the Solomon R. Guggenheim Museum, New York, which subsequently travelled to the Martin Gropius Bau, Berlin, the Stedelijk Museum, Amsterdam, and the Sakip Sabanci Museum, Istanbul, drawing a total of almost 700.000 visitors.

In 1959, Mack conceived the so-called Sahara Project, in which he expressed a strong artistic interest in exploring pure light in areas of unspoiled nature. From 1962 on, he installed his “artificial gardens” in the African desert, consisting of sand-reliefs, wings, cubes, mirrors, sails, and monumental light-stelae. This experimental practice with the force of light is shown in the highly respected and awarded film Tele-Mack (1968). In 1976, Mack realized his utopian projects in the Arctic, where he installed swimming sculptures of acrylic glass, light-flowers, prismatic pyramids, ice crystals and fire-rafts. In 2022, the monograph Mack – Sahara was published by Hirmer.

Besides his participation in documenta III (1964) and documenta VI (1977), Mack represented Germany at the XXXVth Venice Biennale in 1970. He also obtained a professorship in Osaka, Japan, and became a full member of the Akademie der Künste, Berlin, to which he belonged until 1992. In 2015, the senate of the Academy of Fine Arts in Düsseldorf unanimously elected Mack as an honorary member.

The artist has been honoured with major awards including the Premio Marzotto (1963), the Premier Prix Arts Plastiques at the IVth Paris Biennale (1965), the Order of Merit of North Rhine-Westphalia (1992), Grand Federal Cross of Merit with Star of the Federal Republic of Germany (2011), and the Moses Mendelssohn Medal (2017), among others.

In 2014, the sculpture ensemble The Sky Over Nine Columns was inaugurated on the island of San Giorgio Maggiore in Venice: Nine columns, each measuring eight metres, covered with more than 850.000 gold-plated tesserae. In 2015, the ensemble was shown in front of the Sakip Sabanci Museum, Istanbul, and in 2016 moved to Valencia – surrounded by the futuristic architecture of Santiago Calatrava at Ciudad de las Artes y las Ciencias. One year later, it was exhibited on the shore of Lake St. Moritz in the Swiss Engadin.

Light is a central theme in the non-representational art of Heinz Mack. His multifaceted oeuvre includes sculptures of various materials – also monumental ones for urban spaces, light reliefs, light cubes, light rotors, light stelae, paintings, drawings, pastels, ink drawings, graphics, photography, mosaics, ceramics, conceptual designs of public spaces and interiors, stage settings, as well as literary works.

Heinz Mack’s works of art have been shown in 400 solo and numerous group exhibitions. His works are among the holdings of some 170 public collections. A multitude of books and catalogues, as well as films, document his work.

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MEDIA CONTACT:

A R T Communication + Brand Consultancy (Berlin)
Anna Rosa Thomae | Founder | art@annarosathomae.com

Image Credits:
Heinz Mack with his painting Untitled (Chromatic Constellation), 2013,  Acrylic on canvas , 291 x 315 cm, 114 1/2 x 124 in. Signed, dated "mack 13". Photography by Archive Studio Mack. © Heinz Mack. Courtesy of the Artist and Almine Rech.

SOCIÉTÉ PRESENTS ‘CHARADES’ | A SOLO EXHIBITION BY MARIANNA SIMNETT

Press Preview: April 30, 2025 | 11 - 6 pm
Opening Reception: May 1, 2025 | 6 - 8 pm
On View: May 1 – June 28, 2025

(March 26, 2025 – Berlin, Germany) – SOCIÉTÉ is pleased to announce a solo exhibition with the British-Croatian artist Marianna Simnett. In Charades, the artist’s second solo exhibition with the gallery, Simnett delves into the fluid boundaries between individual and collective behavior in new works that explore notions of masquerade, power, and ritual. Drawing on mythology, social rituals, and rites of passage, her new video, paintings, and sculptures evince a deep fascination with ever-shifting presentations of the self, which manifests in flamboyant, macabre displays that flout social taboos and expectations. The works’ frequent invocation of theatrical elements and techniques underscore the underlying tension at the heart of performative excess–its ability to disrupt established norms and recuperate space for difference, while also being weaponized to deceive, manipulate, or obscure.

The video work Leda Was a Swan extends Simnett’s ongoing interest in warping ancient myth to explore fundamental questions about power, desire, and the Other. Inspired by her research into a recently uncovered fresco of Leda in Pompeii, the work revisits the ancient Greek myth in which Zeus, disguised as a swan, assaults the Spartan queen. Simnett’s reinterpretation of the story complicates the traditional victim-aggressor binary, depicting Leda not as a passive victim of Zeus’ aggression, but a complex figure capable of desire, choice, and subversion. Zeus is incarnated as a puppet, Leda’s own hand, a disquieting subversion that is reflected in Simnett’s use of a custom AI model to generate animated sequences from the video’s imagery, further complicating the power-play between puppet and master, human and machine.

A focus on the mutability of power—its construction, subversion, and performance—carries throughout the exhibition. This is particularly evident in Simnett’s recent sculptural works, where familiar symbols are transformed into opulent, ornamental forms that question the nature of control: symbols of feminine beauty veer toward the grotesque, while sacrosanct rites of passage appear as lavishly embellished finger puppetry. These works subtly parody the reliquary—with its ornate enshrinement of power, sanctity, and devotion—serving instead to unravel the ambivalence, fetishization, and performativity of veneration. The merkin, a form of pubic covering dating back to the 16th century, makes a subtle appearance in the costuming for Leda Was a Swan, gesturing toward the historical and contemporary policing of gender and sexuality. Its paradoxical nature—as both a means of protection and an object of exposure—underscores its function as both armor or embellishment, a means of concealment or display, which Simnett further explores in a sculptural work that takes the form of a merkin case full of masquerade paraphernalia.

A dreamlike sense of suspense and melancholy pervades a new series of oil paintings, which oscillate between intimate rituals and lavish spectacle. Seething beneath these seemingly disparate moments are intimate choreographies of dominance and submission—felt in the seduction of performance, the lull of social traditions, or the soft friction of being pushed just slightly too hard. Charades draws its title from the classic parlor game in which one person acts out a syllable while others guess the entire word or phrase. Yet, beyond its playful origins, the term “charade” has also come to signify a sham, a pretence, a mask, a mockery, or a false display—concepts that take on even greater urgency today in light of the performative nature of extremist politics and the erosion of truth in public discourse.

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NOTES TO EDITORS:

Charades by Marianna Simnett will be on view at SOCIÉTÉ from May 1 – June 28, 2025.

Address
Wielandstraße 26
10707 Berlin

Press Preview
April 30 | 11 - 6 pm

Opening Reception
May 1 | 6 - 8 pm

Gallery Weekend Berlin
May 2 | 11 - 9 pm
May 3 | 11 - 7 pm
May 4 | 11 - 6 pm

General Opening Hours
Monday – Saturday | 10 am – 6 pm
Closed on Sundays

About SOCIÉTÉ:
SOCIÉTÉ is a Berlin-based contemporary art gallery with a global reach. The gallery’s bold curatorial approach plays a pivotal role in advancing its artists’ visions, supporting major museum exhibitions, biennials, and acquisitions by leading institutional collections worldwide. Operating in both the primary and secondary markets, SOCIÉTÉ provides curated advisory services to select clients.
Beyond its exhibitions, the gallery’s publishing initiative, EDITION SOCIÉTÉ, collaborates with prominent writers and graphic designers to produce artist books, catalogues, and, more recently, high-end artist editions.

SOCIÉTÉ is an active presence at major international art fairs, including Art Basel, Art Basel Paris, Art Basel Miami Beach, Frieze New York, Frieze London, ARCOmadrid, and Gallery Weekend Berlin.

About Marianna Simnett:
Marianna Simnett (b. 1986, London) lives and works in Berlin and New York. Her work was part of Manifesta 15, Barcelona and her solo exhibition WINNER was recently on view at Hamburger Bahnhof, Berlin. Simnett’s first work for the stage, entitled GORGON, was commissioned by LAS Art Foundation and premiered at HAU 2, Berlin in 2023. Her work The Severed Tail was presented at the 59th Venice Biennale: The Milk of Dreams and at the 66th BFI London Film Festival, British Film Institute, London. Simnett has had solo exhibitions internationally at venues including City Gallery Wellington, Wellington; Copenhagen Contemporary, Copenhagen; MA, Institute of Modern Art, Brisbane; Frans Hals Museum, Haarlem; Kunsthalle Zürich, Zürich; MMK, Museum für Moderne Kunst, Frankfurt; The New Museum, New York; and Zabludowicz Collection, London.

Image Credits:
Video Still by Marianna Simnett, ‘Leda Was a Swan’, 2024. Courtesy of Marianna Simnett and SOCIÉTÉ, Berlin.

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ARTEFACT GALLERY PRESENTS ‘DAS GROßE ERMATTEN’ | LINUS BECKMANN’S DEBUT SOLO SHOW

Private Preview: April 10, 2025 | 6 – 8 PM

On View: April 11, 2025 – June 13, 2025

March 21, 2025 (Berlin, Germany) – ARTEFACT Gallery is proud to present Das große Ermatten, the debut solo exhibition of Berlin-based painter Linus Beckmann. On view from April 11 - June 13, 2025, the exhibition will unveil an entirely new series of paintings and a selection of drawings on parchment paper created exclusively for this occasion, offering an in-depth exploration of Beckmann’s distinctive narrative style, where layered painting compositions give rise to enigmatic scenes.

Beckmann’s style is defined by evocative sceneries, shrouded in a haze that blurs the line between reality and the surreal. Beneath translucent layers of glaze, mysterious beings and allegorical contexts emerge, inviting viewers to uncover hidden narratives. In his personal approach to narrative painting, the artist shifts attention away from the subjects’ gestures, allowing the atmosphere of the composition to drive the story. Beckmann often abstracts and manipulates his figures to conform to the limits of the canvas, establishing a dynamic relationship between the protagonists and their environment. Drawing inspiration from Renaissance and Baroque masters, he reimagines historical influences through a dreamlike lens, infusing his work with otherworldly mystery.

The title, Das große Ermatten, contains the layered German term ‘ermatten’ that can evoke surrender or exhaustion without a precise English equivalent, and sets the tone for the exhibition, with figures drifting between dreams, sleep and death, defeated yet firmly open to fate. Here, surrender becomes a form of strength, blurring the line between being overtaken and embracing the inevitable. The large-scale oil paintings Ta-tah! (2025) and Ermatt (2025) explore themes inspired by German Renaissance painter Lucas Cranach the Elder (1472–1553). Referencing his renowned paintings The Beheading of John the Baptist and Judith with the Head of Holofernes, Beckmann deconstructs their emblematic qualities while highlighting the contradictory vibrancy of the colors that define these violent scenes.

Beckmann brings his motifs to life using centuries-old glazing techniques, adapting them to suit his own painting approach. Layering each painting with 8 to 12 coats of oil paint and glaze, the process demands considerable time and patience, as each layer must dry before the next is applied. Much like an MRI scan revealing hidden details beneath the surface, this complex method builds depth in the work, with every detail carefully added layer by layer. His paintings are not only an expression of creativity but, above all, embody a living homage to a technique passed down through generations. Through his use of color, the hues appear to glow from within the paintings, as if light is trapped between the layers rather than coming from the surface, giving each piece a tangible depth. The ultra-thin layers maintain the canvas texture, encouraging a dynamic interaction between the medium, the figures, and the viewer. The reflective resin layers not only highlight the materials’ role in conveying meaning but also create a surface that captures the viewer’s reflection, inviting them to become part of these dreamlike narratives, adding an additional layer of symbolism.

The debut solo exhibition by painter Linus Beckmann highlights ARTEFACT Gallery’s ongoing commitment to supporting Berlin’s dynamic art scene. With a sharp focus on emerging talent, the gallery offers exhibitions to artists who are not yet represented, giving them a platform to showcase their work to new audiences and collectors.

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MEDIA CONTACT:

A R T Communication + Brand Consultancy (Berlin)

Anna Rosa Thomae | Founder | art@annarosathomae.com

Alexandros Papathanasis | Communications Associate | | alexandros@annarosathomae.com

NOTES TO EDITORS:

Das große Ermatten will be on view at ARTEFACT Gallery from April 11 – June 13, 2025.

Private Preview: April 10, 2025 | 6 – 8 p.m. | RSVP to art@annarosathomae.com

Artefact Gallery, Geisbergstraße 12 | 10777 Berlin

Monday – Friday | 10 – 6 p.m. and by appointment.                             

About ARTEFACT Gallery:

ARTEFACT is a Berlin-based gallery and project space presenting contemporary art and collectible design. We are dedicated to fostering a dynamic and inclusive community by supporting both emerging and established artists and designers in articulating their unique perspectives. Our collaborators are entrusted with unrestricted creativity, with the freedom to explore, experiment, and express themselves without limitations. 

Dedicated to curating a select number of shows annually, ARTEFACT provides artists with prolonged visibility and visitors with ample time to engage deeply with the exhibits.  Throughout its programming, ARTEFACT alternates between exhibitions solely dedicated to art or design and those that seamlessly blend both disciplines, fostering innovative and stimulating exchange attained through interdisciplinarity. 

artefact.berlin | @artefactgallery.berlin

Image Credits:

Linus Beckmann, Unruhe macht sich breit, 2023. Courtesy of the artist and ARTEFACT Gallery.

*All works for Beckmann’s debut exhibition are still in production. Photography will be available in April.

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SOCIÉTÉ PRESENTS 'OBSESSION' BY JEANETTE MUNDT

Opening Preview: March 19, 2025
On View: March 20 – April 19, 2025

March 18, 2025 (Berlin, Germany) – SOCIÉTÉ is pleased to announce Obsession, an exhibition of new drawings by Jeanette Mundt, on view from March 20 – April 19, 2025.

For Jeanette Mundt, drawing is a form of visual thinking—an innate impulse that enables her to process ideas and make relations between them. Drawing is a form of discovery. A means of tapping the connections between things, of testing limits, of opening oneself to chance. Neither a fixed endpoint nor a predefined goal, this liminal and unfixed creative space is a zone of continual anticipation, “a way of being exposed to what comes.”¹ The fleeting, meditative quality of drawing as a practice is reflected in how the works in Obsession were created “on the move,” often serving as a creative anchor and visual diary during moments of reflection and travel while away from the studio.

Jeanette Mundt’s dynamic, formally omnivorous practice freely taps a variety of input, ranging from popular film and television to personal photographs and the history of painting. These different references don’t coalesce in the manner of a frictionless pastiche, but are repeated and reworked in streams of images. Each work is created in reference to a previous work coming before it, whether painted on canvas or drawn on paper. However, the relation between painting and drawing doesn’t follow the traditional logic of the sketch versus finished work. Instead, Mundt’s images emerge according to what the writer Elise Duryee-Browner calls a “biosemiotic evolution.” Each work spawns from a previous one, creating chains of images that mutate and multiply. As Duryee-Browner writes, “Each individual painting carries, pregnant, other works within it.”²

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MEDIA CONTACT

A R T Communication + Brand Consultancy (Berlin)
Anna Rosa Thomae | Founder | art@annarosathomae.com
Ena Alva | Account Manager | ena@annarosathomae.com

NOTES TO EDITORS

Address
Wielandstraße 26
10707 Berlin

Opening Hours
Monday – Saturday | 10 am – 6 pm
Closed on Sundays

About SOCIÉTÉ

SOCIÉTÉ is a Berlin-based contemporary art gallery with a global reach. The gallery’s bold curatorial approach plays a pivotal role in advancing its artists’ visions, supporting major museum exhibitions, biennials, and acquisitions by leading institutional collections worldwide. Operating in both the primary and secondary markets, SOCIÉTÉ provides curated advisory services to select clients.

Beyond its exhibitions, the gallery’s publishing initiative, EDITION SOCIÉTÉ, collaborates with prominent writers and graphic designers to produce artist books, catalogues, and, more recently, high-end artist editions.

SOCIÉTÉ is an active presence at major international art fairs, including Art Basel, Art Basel Paris, Art Basel Miami Beach, Frieze New York, Frieze London, ARCOmadrid, and Gallery Weekend Berlin.

About Jeanette Mundt
Jeanette Mundt (b. 1982, USA) lives and works in New York. She has exhibited in solo and group exhibitions internationally at venues including TANK, Shanghai; New Museum, New York; G2 Kunsthalle, Leipzig; Westfälischer Kunstverein, Münster; Musée d’Art Contemporain, Bordeaux; David Zwirner, New York; Company, New York; Overduin and Co., Los Angeles; Gavin Brown’s enterprise, New York; Bridget Donahue, New York; STANCE Gallery, Stockholm; Palazzo Barberini, Rome; Nahmad Contemporary, New York; David Lewis Gallery, New York; among other venues. Her work has been included in the 2019 Whitney Biennial, as well as the group exhibitions The Rest, Lisson Gallery; The Vitalist Economy of Painting curated by Isabelle Graw at Galerie Neu, Berlin; Painting: Now and Forever, Part III, Matthew Marks and Green Naftali, New York; Sputterances, Metro Pictures, New York.

Footnotes:
1. Yves Bonnefoy, quoted in Jean-Luc Nancy, The Pleasure in Drawing (New York: Fordham University Press, 2013), 3.
2. Elise Duryee-Browner, “Paint Like Blood,” in Mundt Mundt Mundt (Berlin: Edition Société, 2024), 92.

Image credits:
Jeanette Mundt, Untitled, oil on paper, 2025. Courtesy of the artist and SOCIÉTÉ, Berlin.

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GATHERING ANNOUNCES NEW GALLERY OPENING IN COLOGNE | APRIL 2025

Gathering Cologne’s inaugural exhibition 'Indiscreet Jewels', presents the work of the late Sibylle Ruppert, on view from April 4 – May 17, 2025.

March 14, 2025 (Cologne, Germany) – Gathering is thrilled to announce the opening of its new gallery in Cologne on April 4, 2025, marking an exciting expansion alongside its existing locations in London and Ibiza. With this launch, Gathering deepens its commitment to artist-led programming and bold, cutting-edge exhibitions. The inaugural exhibition, Indiscreet Jewels, on view from April 4 – May 17, 2025, will be a solo presentation of the late German artist Sibylle Ruppert (1942–2011). This marks her inaugural solo exhibition in Cologne and the first showing of her work there since 1971, paying tribute to the European underground art scene and reaffirming her lasting influence on contemporary visual culture.

Ruppert’s work spans the 1960s, ’70s, and ’80s, forming a radical body of paintings, drawings, and collages that exist at the intersection of dark surrealism, eroticism, and deeply personal experiences. Her aesthetic is both brutal and intimate, confronting the viewer with imagery that feels at once unsettling and deeply expressive. In her surrealist compositions, the human body is never static—it writhes, strains, collapses, and mutates, seemingly caught in a monstrous transformation from recognizable anatomy into distorted, abstract masses. The exhibition will feature charcoal and pencil drawings, all distinguished by their intricate, highly detailed renderings of surreal and fantastical bodily forms.

Ruppert’s work is deeply influenced by the morbid and transgressive writings of the Marquis de Sade, Lautréamont, and Georges Bataille, channeling their themes of desire, decay, and the grotesque into an uncompromising, visionary visual language.

“Cologne has long been one of Germany’s most vital cultural hubs—a city that shaped contemporary art history through its legendary artists, pioneering galleries and the world’s first art fair,” says Gathering founder Alex Flick. “Our expansion here is about tapping into that legacy and contributing to its next chapter. The energy is here, the history is undeniable and the appetite for something new is palpable. With Café Central and our gallery space, we want to be part of Cologne’s cultural revival, creating a place where art, ideas, and community come together in a way that feels both forward-looking and deeply rooted in the city’s artistic heritage.”

Gathering’s opening will coincide with the highly anticipated reopening of nearby Central, a café, bar, and cultural hub that shaped the local avant-garde and stood at the heart of the city's 1980s intellectual life, which will now also be operated by Gathering.

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MEDIA CONTACT:
 
A R T Communication + Brand Consultancy (Berlin)

Anna Rosa Thomae | Founder | art@annarosathomae.com
Ena Alva | Account Manager | ena@annarosathomae.com
 
NOTES TO EDITORS:
 
Exhibition Details
Sibylle Ruppert
4 April – 17 May 2025
Roonstraße 108
50674 Cologne
 
About Gathering:

Founded in 2022 in the heart of Soho, London, Gathering is a contemporary art gallery, presenting a diverse exhibition programme of international emerging voices alongside established artists, including Emanuel de Carvalho, Tamara K.E., Soojin Kang, Ndayé Kouagou, Wynnie Mynerva and Tai Shani. In 2023, Gathering inaugurated GLASSHOUSE, an alternative strand of programming which fosters emergent creative practitioners alongside Gathering’s main exhibitions. In 2024, the gallery expanded to Sant Miquel de Balansat on the island of Ibiza, carrying the cutting-edge programming and artist-led ethos of Gathering to an international stage.

 
Gathering is a member of the Gallery Climate Coalition and works with The Anti-Slavery Collective and Embode.
 

Image credits: 
Detail of 'Untitled', Sibylle Ruppert,1970. Pencil on paper, 30.5 x 32.5 cm. Courtesy of Blue Velvet and Gathering.

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LE SIRENUSE IN POSITANO RE-OPENS FOR THE 2025 SEASON

The iconic luxury and lifestyle hotel on the Amalfi Coast Le Sirenuse is excited to announce its season opening on March 29.

March 12, 2025 (Positano, Italy) – We are delighted to announce the season opening at Le Sirenuse on March 29, 2025. Le Sirenuse opened in 1951, in what until then had been the Sersale family’s summer house in Positano. Today the 58-room Amalfi Coast resort is considered an Italian hospitality icon, though it still retains the intimate, cultured atmosphere of a private home. More than a hotel, Le Sirenuse has become a lifestyle reference bringing into fertile dialogue the worlds of fashion, culture, gastronomy, mixology and wellbeing.

Scenic La Sponda restaurant, informally glamorous bar-bistrot Aldo’s and the resort’s chic Pool Bar showcase this southern Italian region’s authentic seasonal produce, while the Don’t Worry Music Bar is a true insiders’ speakeasy in tune with the rhythm of Positano nights. Le Sirenuse also features a refreshingly contemporary Spa designed by architect Gae Aulenti, where a range of signature treatments are available, alongside a fitness area with two total-workout Megaformer machines. The hotel is celebrated worldwide for its all-inclusive weekly activities, which include trekking on some of the Amalfi Coast’s spectacular mountain trails and more leisurely sunset cruises on the Sant’Antonio, the family’s traditional gozzo fishing boat.

Now as in the past, Le Sirenuse is a family affair. Third-generation Sersales, Aldo and Francesco, are increasingly involved in the day-to-day running of a hotel that their parents Antonio and Carla began to manage in 1991. Carla currently curates Emporio Sirenuse, the resort wear and lifestyle brand she founded in 2013, which takes inspiration from the deep-rooted Mediterranean culture of this charmed enclave south of Naples.

Le Sirenuse has hosted many writers, artists and musicians in its long history. It has also been shaped, indoors and out, by the passion for collecting art and antiques of its owners – especially the late Franco Sersale, a traveler, photographer and aesthete of unerring taste. It was to celebrate this legacy, and to project it into the future, that Franco’s son Antonio and Carla launched the Artists at Le Sirenuse site-specific contemporary art programme in 2015, in collaboration with British art advisor and curator Silka Rittson-Thomas.

Once a year, a contemporary artist is invited to stay at the hotel to absorb inspirations and explore affinities, but also to discuss, with Antonio, Carla and Silka, where in the hotel’s busy fabric the work might find its niche. To date, ten artists have risen to the challenge, and a vibrant creation by the eleventh – Nicolas Party – was just unveiled in 2024 – the iconic pool of the hotel is now transformed into a large-scale mosaic work of art. The next artist of the programme will be announced in the spring of 2025.

MEDIA CONTACT
A R T Communication + Brand Consultancy (Berlin)
Anna Rosa Thomae | Founder | art@annarosathomae.com

NOTES TO EDITORS

Le Sirenuse
For more information, please visit www.sirenuse.it/en
Facebook | Instagram | @lesirenuse

Images Credits:
1. Le Sirenuse’s Pool by Nicolas Party. 2024. Glass mosaic tiles. 18.6x4.65m. Courtesy Nicolas Party and Galerie Gregor Staiger, Zurich. Milan.
2. Le Sirenuse’s Restaurant, 2023. Photography by Brechenmacher & Baumann.
3. Le Sirenuse, Room 93, 2023, Photography by Brechenmacher & Baumann.
4. Le Sirenuse, Franco’s Bar 2022. Courtesy of Le Sirenuse.
5. Le Sirenuse, Room 62, Photography by Brechenmacher & Baumann

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SOCIÉTÉ x ARCOmadrid 2025

Preview Days: March 5 – 6, 2025
On View: March 7 – 9, 2025

February 27, 2025 (Madrid, Spain) – Berlin-based SOCIÉTÉ will participate in the 44th edition of ARCOmadrid from March 5–9, 2025, at the IFEMA MADRID exhibition center. The gallery will be presenting a diverse selection of works at booth 9C08 by Trisha Baga, Tina Braegger, Conny Maier, Kaspar Müller, Jeanette Mundt, Bunny Rogers, Marianna Simnett, Lu Yang.

As one of the 214 exhibitors from 38 countries at ARCOmadrid, SOCIÉTÉ actively supports the fair’s commitment to global representation and diversity. Through a carefully curated selection of artworks, the gallery presents artists from different countries, each offering distinct cultural perspectives, while engaging with prominent institutional and private collectors.

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MEDIA CONTACT
A R T Communication + Brand Consultancy (Berlin)
Anna Rosa Thomae | Founder | art@annarosathomae.com
Ena Alva | Account Manager | ena@annarosathomae.com

NOTES TO EDITORS

Address
Halls 7 and 9 of the Trade Fair Centre of IFEMA MADRID
Av. del Partenón, 5, Barajas,
28042 Madrid, Spain

Preview Days
Wednesday, March 5 | 11.00 - 20.00
Thursday, March 6 | 12.00 - 20.00
Friday, March 7 | 12.00 - 15.00 

Fair Days
Friday, March 7 | 15.00 - 20.00 
Saturday, March 8 | 12.00 - 20.00 
Sunday, March 9 | 12.00 - 18.00 

Image Credits:
1. Jeanette Mundt, Deerkill, 2024.
2. Marianna Simnett, Ares, 2024.
3. Trisha Baga, The Cloud, 2025.
4. Conny Maier, Cuidado con el perro, 2024. 
5. Kaspar Müller, Untitled, 2025.

Courtesy of the artists and SOCIÉTÉ, Berlin. Photography by Trevor Good.

MOONARIJ x MATTER and SHAPE 2025 DESIGN SALON IN PARIS

On View: March 7 – 10, 2025

February 26, 2025 (Paris, France) – Berlin-based design brand MOONARIJ will present a diverse selection of glass vase collections at the second edition of MATTER and SHAPE, held March 7–10 in the Jardin des Tuileries, in Paris. At this cross-disciplinary design salon for 21st-century architecture, design, and fashion, MOONARIJ stands alongside brands from over 20 countries, showcasing its distinct artistic expression and Germany’s rich glassmaking tradition.

Born from a deep passion for the centuries-old tradition of vessel making, MOONARIJ brings its designs to life through close collaboration with small workshops in Berlin and Dresden. The result is a colorful range of one-of-a-kind vases, each from distinct collections, featuring unpredictable patterns and shapes, from flowing curves and swirls to bold geometric forms. Locally produced and meticulously handmade, these vases have captured the attention of collectors worldwide who value innovative design, while preserving the organic, tactile beauty of masterful artistry.

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MEDIA CONTACT:

A R T Communication + Brand Consultancy (Berlin)

Anna Rosa Thomae | Founder | art@annarosathomae.com

NOTES TO EDITORS: 

On View from March 7 – 10, 2025. 

Address:
12 Rue Philippe de Girard,
75010 Paris,
France

Opening Times:
March 7, 2025: 9:30 AM – 5:30 PM
March 8, 2025: 9:30 AM – 7:00 PM
March 9, 2025: 9:30 AM – 7:00 PM
March 10, 2025: 9:30 AM – 6:00 PM

About MOONARIJ:
Moonarij is a Berlin-based, female-founded design brand focused on handcrafted vases. Captivated by the art of glass blowing, Johanna Wichelhaus teamed up with renowned glass artists in 2022 to develop first iterations of her sketches of striped bud vases. The designs evolved into the brand‘s first collections – the Oona, and the Narij, followed by the Large Bucket, Oona Baby, and Zigzag collection. Voluminous in shape, iridescent in color, and meticulously crafted, hand-blown, and hand-sculpted, Moonarij vases stand out as mesmerizing objects of beauty.
www.moonarij.com | @moonarij_objects

About MATTER and SHAPE:
MATTER and SHAPE is a new design salon in the heart of Paris, the first of its kind, unveiled during Paris Fashion Week in the Jardin des Tuileries in the spring of 2024. MATTER and SHAPE invites exhibitors, great and small, to present exceptional projects and products in an elevated setting, celebrating the culture of global design today. MATTER and SHAPE took place in a 3000sqm temporary space designed by Willo Perron of Perron Roettinger Studio. Featuring customised stands for 32 exhibitors, the salon also included a central cafe island, a pop-up restaurant by WE ARE ONA, a talk program, and a design bookstore and boutique. Powered by the international salon experts WSN, with the international network of Michela Pelizzari – Founder & Creative Director of the Milanese strategic consulting firm P:S. MATTER and SHAPE debuted with an inbuilt audience of boutique owners, buyers, and retail consultants from department stores and multi-brand boutiques around the world who visited the neighbouring salon PREMIERE CLASSE across the same 4-day period.
www.matterandshape.com

Image Credits:
1. MOONARIJ Moonjar collection. Courtesy of Mina Aichhorn, 2025.
2. MOONARIJ Production image. Courtesy of Emma Ball-Greene, 2024.
3. MOONARIJ Oona collection. Courtesy of Peter Langer, 2024.
4. MOONARIJ Narij collection. Courtesy of Mina Aichhorn, 2025.
5. MOONARIJ Large Bucket Collection. Courtesy of Peter Langer, 2024.
6. MOONARIJ Oona collection. Courtesy of Peter Langer, 2024.

INTRODUCING THE MACK FOUNDATION | A TRIBUTE TO HEINZ MACK’S ARTISTIC LEGACY THROUGH CULTURAL AND ACADEMIC INITIATIVES

February 13, 2025 (Germany) – The newly established MACK FOUNDATION holds an extensive collection of Heinz Mack’s works from every stage of his career and is dedicated to preserving his diverse, visionary legacy while fostering continuous appreciation of his art. Nestled on the picturesque 16th-century Huppertzhof estate in North Rhine-Westphalia, where the 93-year-old artist has worked since the 1960s and continues to create today, the MACK FOUNDATION houses an extensive archive of his oeuvre and relevant documentation, serving as a vital resource for cultural institutions, collectors and scholars dedicated the art-historical significance of his work. In contrast to the ZERO Foundation, co-founded by Mack in 2008 to preserve the collective legacy of all artists within the international ZERO movement, in which he played a key role, this new foundation is dedicated solely to Mack’s body of work, thereby establishing its own distinct identity. 

Spanning a career of over seven decades, Heinz Mack reshaped post-war art history through his pioneering contributions to light art. As a founding member of the avant-garde ZERO movement alongside Otto Piene, he helped establish an art form that centered on universal elements, challenging conventional boundaries, and influencing both the visual language and philosophical discourse of the time. His innovative approach, which redefined the relationship between natural and artificial forces in art, earned him international acclaim, with his works continuing to be featured in over 170 public collections worldwide, including permanent displays at prestigious institutions such as the Guggenheim Museum and MoMA in New York, the Tate Modern in London, and the Centre Pompidou in Paris.

First Initiatives

The MACK FOUNDATION kicks off its journey with two inaugural projects that stand as testaments to its mission to foster enduring partnerships with cultural institutions and support scholarly research. One of these initiatives is the promotion of ‘MACK – FACE TO FACE’, a thorough examination of the artist’s life and work, written by Robert Fleck, a professor at the Düsseldorf Art Academy, which is a key institution in Mack’s early artistic education. Alongside the publication, the foundation will also donate one of Mack’s signature light reliefs from the ZERO period to the Busch-Reisinger Museum at Harvard Art Museums, the only institution in North America dedicated to studying art from German-speaking countries.

The MACK FOUNDATION as a Point of Reference

The foundation’s collection provides a cohesive narrative of Mack’s expansive career, addressing the fragmentation caused by the global dispersion of his works. Spanning from his student years in the 1950s at the Art Academy in Düsseldorf to the present day, it includes key pieces from every phase of his artistic journey, such as works from the ZERO period like the Dynamic Structures, installations, sculptures, reliefs, steles, cubes, kinetic objects, rotors, project ideas, models, drawings, pastels, inks, ceramics, collages, and photographs, as well as his more recent Chromatic Constellations paintings, which he has been creating since 1991. The foundation also houses an extensive archive of secondary materials on Mack’s life and work, that complement and contextualize the artworks, including original documents, publications, photographs, films, sound recordings, sketches, and correspondence. By unifying these works and documents, the foundation possesses the expertise needed to standardize Mack’s legacy, offering collectors and institutions the opportunity to register and authenticate their pieces. As an overarching entity that transcends the diverse locations and eras of his work, the MACK FOUNDATION serves as the definitive authority on all inquiries related to the artist, his life, his oeuvre, and the ideals and unrealized projects that remain integral to his vision.

The MACK FOUNDATION as a Patron of Academia

In addition to raising public awareness through exhibitions and permanent loans, the foundation positions itself as a patron of academia through initiatives such as its year-round PhD support program. The program seeks to inspire fresh academic perspectives on Mack’s work, unlocking a range of new insights into his legacy and the movements associated with him. Doctoral candidates are supported with both logistical assistance for the archive and, upon board approval, financial aid, thereby facilitating the research process at every level. This initiative, most importantly, reinforces the foundation’s role as an active contributor to academic institutions, a role that extends far beyond solely serving as an archival resource.

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MEDIA CONTACT A R T Communication + Brand Consultancy (Berlin)

Anna Rosa Thomae | Founder | art@annarosathomae.com 

Alexandros Papathanasis | Communications Associate | alexandros@annarosathomae.com

NOTES TO EDITORS:

About Heinz Mack

Heinz Mack, born in 1931 in Lollar (Hesse, Germany), attended the Academy of Arts Düsseldorf during the 1950s. In 1956 he also earned a state examination in philosophy at the University of Cologne. Together with Otto Piene he founded the group ZERO in 1957 in Düsseldorf. Besides his participation at Documenta II (1959) and Documenta III (1964), he also represented The Federal Republic of Germany at the XXXVth Venice Biennale in 1970. In the same year he was invited to Osaka (Japan) as a visiting professor. He also became a full member of the Berlin Academy of Arts, to which he belonged until 1992. Heinz Mack has been honored with major awards including the Art Prize of the City of Krefeld (1958), the Premio Marzotto (1963), the 1st Prix arts plastiques at the 4th Paris Biennale (1965), 1st prize in the international competition Licht 79 in the Netherlands (1979), the Großer Kulturpreis des Rheinischen Sparkassen-Verbands (1992) and the Cultural Prize of the city of Dortmund’s arts council (2012). He also received the Grand Federal Cross of Merit with Star of the Federal Republic of Germany in 2011. In 2015, Heinz Mack was unanimously voted an honorary member of the Kunstakademie Düsseldorf by the academy's senate. In 2016, the city of Düsseldorf bestowed the Jan-Wellem-Ring upon Heinz Mack. He received the Moses Mendelssohn Medal in 2017. The central theme of Heinz Mack’s art is light. Sculptures and pictures are the media of his multifaceted oeuvre. The exceptionally diverse complete works include sculptures made of different materials: light-stelae, light-rotors, light-reliefs and light-cubes. His oeuvre also involves paintings, drawings, India ink, pastels, graphics, photography and bibliophilic works. Another important aspect of Mack’s work is the design of public spaces, church interiors, stage settings and mosaics. His works have been shown in nearly 300 solo exhibitions and numerous other group exhibitions. They are also found in over 170 public collections. Numerous books and two films document his work. Heinz Mack lives and works in Mönchengladbach and Ibiza.

Image credits:

1. Light-Relief, 1960, Busch-Reisinger Museum, Cambridge, MA. Photography by Archiv Heinz Mack. Copyright © Archiv Heinz Mack and VG Bild-Kunst Bonn, 2025.

2. Heinz Mack with a lenticular column from 1963. Photography by Archiv Heinz Mack, 1995. Copyright © Archiv Heinz Mack and VG Bild-Kunst Bonn, 2025.

3. Exhibition view "Seeing Through Light – Selections from the Solomon R. Guggenheim Museum," Guggenheim Abu Dhabi, 2014. Photography by Guggenheim Abu Dhabi. Copyright © Archiv Heinz Mack and VG Bild-Kunst Bonn, 2025.

4. Great Space Arrow, 1976. Photography by Thomas Höpker. Copyright © Archiv Heinz Mack and VG Bild-Kunst Bonn, 2025.

5. Heinz Mack during the filming of 'TELE-MACK' in the Tunisian desert, 1968. Photography by Edwin Braun. Copyright © Archiv Heinz Mack and VG Bild-Kunst Bonn, 2025.

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GALERIE SCENE OUVERTE INAUGURATES THE YOUNG SCENE OUVERTE PROGRAM | A CATALYST FOR THE NEXT GENERATION OF CONTEMPORARY DESIGNERS

The initiative’s first exhibition will reveal the visions of emerging designers who redefine the boundaries of artisanal innovation, positioning the gallery as a vital force in the preservation and evolution of collectible design.

Opening Preview: March 6, 2025
On view: March 7 - 22, 2025

January 30, 2025 (Paris, France) – Paris-based Galerie SCENE OUVERTE presents the first group exhibition of Young SCENE OUVERTE. Expanding its legacy by fostering young artistic voices, the gallery’s initiative is dedicated to nurturing the next generation of talent at the crossroads of art, craft, and design. The exhibition brings together six young designers—Anna Zimmermann, Clémence Mars, Studio BISKT, Julia Chehikian, Rinke Joosten, and Faustine de Longueil—whose works reveal the aesthetic research, technical mastery, and contemporary sensibility shaping tomorrow’s design landscape. A curated selection of sculptures, seatings, carpets, vases, tables, and mirrors will be on view at the gallery’s new space at 13 Rue Bonaparte, Paris, from March 7 – 22, 2025.

Playing a pivotal role in cultivating artisanal heritage, poetic experimentation, and artistic innovation, Galerie SCENE OUVERTE’s designers have grown alongside the gallery, refining their practice, and earning notoriety in the international art and design scene. Beyond its Parisian exhibitions, its influence extends globally through participation in fairs such as Design Miami/ and PAD Paris. With the recent addition of more established creatives, the aspiration for a dedicated structure to support emerging talent surfaces as a natural extension of the gallery’s legacy. Through the Young SCENE OUVERTE program, the gallery becomes a mentor for designers to refine their creative language, master their materials, and solidify their artistic identity. Whether by aiding in production or introducing them to skilled craftsmen to create unconventional and daring pieces, the gallery positions them as artisanal innovators who push the boundaries of traditional crafting techniques with distinctive contemporary visions. At the same time, the initiative connects emerging talent with a new generation of collectors, growing an audience that is engaged in the preservation and evolution of collectible design.

Among the emerging talents, Anna Zimmermann stands out for her ability to navigate the intersection of object design and sculpture. In her series of seven aluminum vessels titled ‘Vessels of Imperfection,’ the artist delves into the beauty of the flawed, celebrating imperfection. By embracing the natural contours and irregularities of molded forms, Zimmermann challenges conventional notions of refinement. Created in collaboration with Viennese craftsmen, these works also underscore her deep commitment to traditional artisanal techniques, seamlessly blending craft with contemporary vision.

Bringing her refined scenographic sensibility to the exhibition, Clémence Mars presents two resin mirrors and three wall-mounted sculptures in crystal and glass. By drawing on the visual language of vintage technology and futuristic landscapes, her work probes humanity's enduring fascination with uncharted frontiers and the fantasies of conquest that have shaped societies across time. Guided by her multidisciplinary education and insatiable curiosity, the pieces seamlessly integrate with their surroundings, transforming space into a dynamic stage for her creations.

Belgian duo Studio BISKT unveils a series of hybrid objects crafted in enameled sandstone. Their collaborative practice is shaped by a shared fascination with experimentation and the interplay of contrasts—industrial precision meeting the intimacy of handcraft. Combining Charlotte's urban-inspired ceramic artistry with Martin's process-driven industrial design expertise, Studio BISKT rethinks the way objects are conceived, resulting in pieces that challenge conventional boundaries and invite reflection on the relationships between design, craft, and materiality.

An artisan rooted in the vibrant landscapes of Marseille, Julia Chehikian will present a coffee table made exclusively for the exhibition, crafted with iron frames and glass. Inspired by the warmth, sea, and vibrant colors of Provence, her designs embody a harmonious blend of simplicity and durability. The clean lines, and minimalist frames of her pieces reflect a timeless aesthetic, built from solid, sustainable materials to endure. Each design is conceived and crafted locally in her atelier, in collaboration with local artisans and upholsterers.

Embracing the unpredictability of materials, Rinke Joosten’s ‘Momentum series,’ delves into the tension between efficiency and creative freedom, celebrating the handmade and the human touch. Her fluid, sculptural vases in blown glass create a dynamic dialogue between materials and the artist’s hands, capturing moments of spontaneity and imperfection.

Paris-based designer of handmade rugs, Faustine de Longueil will present a series of pieces crafted from 100% French wool sourced from Fonty. With a background as an art director and graphic designer, de Longueil discovers the tufting technique and transforms her graphic creations into tactile, functional works of art. Her minimalist, contemporary rugs are conceived as visual and sensory experiences, designed to redefine the spaces they inhabit.

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NOTES TO EDITORS

Opening Preview: March 6, 2025

On View from March 7 – 22, 2025.

Address:
13 Rue Bonaparte
75006 Paris
France

Opening Times:

Monday | 2 – 6 pm
Tuesday – Saturday | 11 am – 7 pm
Closed on Sundays

ABOUT GALERIE SCENE OUVERTE:

Galerie SCENE OUVERTE, newly located at 13 rue Bonaparte, Saint Germain des Prés in Paris, embodies the alliance between contemporary creativity and artisanal excellence. Here, beauty, craftsmanship, and the sensations generated by materials converge to create a singular collection of art furniture and ceramics, available as one-off pieces, or very limited editions.

The young designers and ceramists represented by the gallery share a vision that transcends the simple functionality of objects. Their intrinsic creative energy, fueled by in-depth research into materials and know-how, makes them part of a History of the Decorative Arts. In this way, each work becomes the unique story of an era, a total vision of creation.

Our commitment extends beyond each individual creation, embracing the defense of the work of some thirty designers. Accompanying artists on their creative journey becomes a passionate mission, as does introducing buyers to the essence and uniqueness of each object. At Galerie SCENE OUVERTE, each piece emerges as the fruit of a symbiosis between designers and craftsmen, or directly from the artist's hand. The gesture takes on meaning. Each creation, imbued with a palpable uniqueness and undeniable sensitivity, becomes the witness to a rich collaboration at the heart of the Decorative Arts. Passed down from generation to generation, it carries the artistic heritage and creative spirit that defines the soul of the gallery.

At the heart of Galerie SCENE OUVERTE, where contemporary creativity meets artisanal excellence, lies an ambitious initiative: Young SCENE OUVERTE (YSO). This initiative is dedicated to spotlighting talented young artists. A selection of young creations, supported in their artistic development to achieve excellence. YSO is a platform dedicated to discovering, nurturing, and showcasing young talent from the next generation of designers. Conceived as an artistic springboard, YSO embodies a strong, committed vision for the future of the Decorative Arts. | http://galerie-sceneouverte.com/

Image credits:

1. Anna Zimmermann, Vessels of Imperfection, 2023. Aluminum. © Leonhard Hilzensauer 

2. Rinke Joosten, Momentum, 2024/25, blown glass, © Rinke Joosten

3. Clémence Mars, Applique cristal,  2024. Cristal, glass, LED, and metal. © Studio Héraut 

4. Studio BISKT, Magara Collection. Enameled sandstone © Silvia Cappellari

5. Faustine de Longueil, 2025. French Wool © Charles Duc

6. Julia Chehikian, Piscine, 2024. Courtesy of the artist.

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ART PARIS RETURNS TO THE ICONIC GRAND PALAIS FOR ITS 27TH EDITION | BRIDGING REGIONAL AND GLOBAL ARTISTIC VOICES IN ART AND DESIGN

The 2025 edition shines a light on French figurative painting, explores intercultural perspectives, and debuts the French Design Art Edition.

VIP and Press Preview: April 2 2025 | 11 AM - 9 PM (by invitation only)
On View: April 3 – 6 2025

January 8, 2025 (Paris, France) – Art Paris, the premier spring event for modern and contemporary art, returns to the iconic Grand Palais. On view from April 3 – 6, 2025 at Avenue Winston Churchill, Paris, this 27th edition will bring together 170 exhibitors from 25 countries, showcasing an ambitious program with two main themes: Immortal: A Focus on Figurative Painting in France, curated by Amélie Adamo and Numa Hambursin, and Out of Bounds, curated by Simon Lamunière. For the first time, Art Paris will unveil French Design Art Edition, a dedicated sector highlighting design and contemporary decorative arts. With its expanding international scope and multi-disciplinary programming, the fair continues to establish its role as a global crossroads for creativity and cultural exchange.

With 60% of exhibitors hailing from France, 40% representing international galleries, and 36% of newcomers, this 2025 edition underscores the fair's balance between celebrating local talent and embracing global perspectives. This diversity shines a spotlight on the richness of the French gallery ecosystem, from internationally renowned names to modern and contemporary art galleries across France. Joining the roster this year are esteemed galleries such as Mennour, Semiose, and Christian Berst, alongside returning exhibitors like Continua, Lelong & Co, Loevenbruck, Meessen, Nathalie Obadia, Michel Rein, Almine Rech, and Templon. On the international front, new additions include Sabrina Amrani (Madrid), Beck & Eggeling and Pasquer (Düsseldorf, Paris), Lange + Pult (Zurich), Senda (Barcelona), Rüdiger Schöttle (Munich), Tang Contemporary (Beijing), Waddington-Custot (London), Wilde (Geneva), and W&K – Wienerroither & Kohlbacher (Vienna, New York), among others.

Immortal: A Focus On The Figurative Painting In France by Amélie Adamo And Numa Hambursin

Writer and independent curator Amélie Adamo and Numa Hambursin, general director of MO.CO. (Montpellier Contemporain), will continue pursuing their commitment to the French Figurative scene at Art Paris, having previously co-curated Immortal, an ambitious and groundbreaking panorama of young French figurative painting in 2023. Working from a selection of 30 artists chosen from exhibiting galleries, the duo will present a new analysis that will consider the historical context and compare artists from different generations. Unconcerned with fleeting trends, the theme aims to underline the permanent nature of figurative painting in France, while highlighting the influence of the painters of the past. It will show how figurative painting – amidst the global dominance of abstraction and new media – is a dynamic, Europe-wide movement.

Selected Artists: Ronan Barrot (Galerie Claude Bernard), Marion Bataillard (Paris-B), Maty Biayenda (Double V Gallery), Vincent Bioulès (Galerie La Forest Divonne), Jean-Charles Blais (Galerie Yvon Lambert), Katia Bourdarel (Galerie Renard Hacker) , Marcos Carrasquer (Polaris), Robert Combas (Strouk Gallery), Dado (Galerie Jeanne Bucher Jaeger), Laura Garcia Karras (Paris-B), Vincent Gicquel (RX&SLAG), Yayoï Gunji (Galerie Catherine Issert), Dhewadi Hadjab (Mennour) Jean Hélion (Galerie Trigano), Oda Jaune (Templon), Youcef Korichi (Galerie Suzanne Tarasiève), Eugène Leroy (Galerie Claude Bernard),Thomas Levy-Lasne (Galerie Les Filles du Calvaire), Johanna Mirabel (Galerie Nathalie Obadia), Marlene Mocquet (Galerie BSL), Sabine Monirys (Galerie Kaleidoscope), Barbara Navi (Galerie Valérie Delaunay), Francoise Petrovitch (Semiose), Laurent Proux (Semiose),Léa Toutain (Galerie Camille Pouyfaucon), Milène Sanchez (Galerie Claire Gastaud), Gérard Schlosser (Galerie Koren), Agnès Thurnauer (Galerie Michel Rein), Karine Rougier (Galerie Les Filles du Calvaire) Gaétan Valguelsy (Polaris).

Out Of Bounds, by Simon Lamunière

For Out of Bounds, independent curator Simon Lamunière has curated a selection of 18 international artists from participating galleries, crafting a compelling exploration of contemporary creation through the lens of multiethnicity and cultural hybridization. This presentation delves into themes of origins, gender, kinship, history, and geography, offering a nuanced perspective on the intersections of identity and form.

Selected Artists: Ishola Akpo (Sabrina Amrani) Mohammad Alfaraj (Mennour), Razan Al Sarraf (Hunna Art), Sama Alshaibi (Esther Woerdehoff), Zena Assi (Tanit), Gillian Brett (C+N Gallery Canepaneri), Dana Cojbuc (Galerie Catherine Putman),Dora García (Galerie Michel Rein), Zhanna Kadyrova (Continua), Bertina Lopes (Galerie Richard Saltoun), Bulumko Mbete (The Bridge Gallery), Werner Reiterer (Loevenbruck), Katja Schenker (Mitterrand), Elisabeth Scherffig (LABS Contemporary), Kurt Schwitters (Zlotowski), Kiki Smith (Galerie Lelong & Co), Joana Vasconcelos (Gowen Contemporary), Zhao Zhao (Tang Contemporary).

Promises: An All-New And Larger-Than-Before Sector Focusing On Young Galleries And Emerging Artists New to 2025, the Promises sector, curated by independent exhibition curator Marc Donnadieu, will take center stage on the southern balconies of the Grand Palais’s iconic Nave. This space will showcase 25 galleries established within the last decade, with 17 making their debut at Art Paris. Reflecting the fair’s global outlook, 59% of these galleries hail from diverse international destinations, including South Africa, Belgium, Canada, Kuwait, Italy, Japan, Hong Kong, Guatemala, Singapore, and Slovakia.

19 Monographic Exhibitions

Interwoven throughout the main fair and the Promises sector, 19 monographic exhibitions offer visitors an unparalleled opportunity to delve deeply into the work of modern, contemporary, and emerging artists. These focused showcases provide an intimate exploration of individual creative visions, allowing attendees to discover or rediscover in depth the work of modern, contemporary, and emerging artists.

French Design Art Edition: A New Sector Devoted To Design And The Contemporary Decorative Arts

Art Paris welcomes all artistic mediums, and in 2025, it celebrates the centenary of the International Exhibition of Modern Decorative and Industrial Arts with the launch of the French Design Art Edition. Created in collaboration with Le FRENCH DESIGN directors Jean-Paul Bath and Sandy Saad, this initiative highlights design and contemporary decorative arts. Situated on the north balconies of the Grand Palais Nave, the exhibition space— designed by architects Jakob + MacFarlane—will feature 18 exhibitors, including interior designers, design studios, and galleries specializing in design. Visitors can explore limited-edition creations that blend contemporary design with exceptional craftsmanship. Complementing this showcase is a 130 m2 group exhibition that blurs the boundaries between art and design. It highlights how contemporary creation draws on traditional artisanship to reimagine objects with timeless appeal, offering a rich dialogue between form, function, and innovation.

Le Fonds D'art Contemporain - Paris Collections | Espace Du Paddock - Balcon D'honneur

This year, for the first time, the Paris Municipality will be an Art Paris partner and will be presenting the Fonds d'art contemporain - Paris Collections at the fair, curated by Julie Gandini. The only public collection on display amongst the exhibiting galleries, the City of Paris's collection comprises almost 23,500 works from the end of the 19th century to the present day. Every year, new works are added to the collection as part of the municipality's actions in support of arts professionals. During the fair, the Fonds d'art contemporain - Paris Collections will present an ensemble of modern and contemporary works from the collection resonating with this edition's focus on figurative painting from both a historical and contemporary perspective, while juxtaposing traditional and radical approaches.

NEUMA, The Forgotten Ceremony: an Installation by Artists Sarah Brahim and Ugo Schiavi

Saudi-American artist Sarah Brahim and French artist Ugo Schiavi present their collaborative installation NEUMA, The Forgotten Ceremony, curated by Wejdan Reda and Arnaud Morand, as the culmination of their residency at Villa Hegra. Paying tribute to the ritual practices of the pre-Islamic tribes of AlUla, this installation is the result of in-depth research carried out in close collaboration with archaeologists and local communities across the region. Drawing inspiration from the landscape of AlUla, its mythology and heritage, this exhibition fosters a contemplative mood by subtly blending contemporary creation, elements of the site's ancient history, as well as secular and sacred elements across an ensemble of sculptures, videos and photographic works.

Le Chuchotement des Mains - An Exhibition in the Rencontres Équinoxes Series Organized by Leather Goods Company Camille Fournet

For 10 years, Camille Fournet has been an active patron of the arts, providing support for original creations by inviting contemporary artists to its twice-yearly Rencontres Équinoxes that allow artists to fully appreciate the special relationship that exists between the luxury leather goods company and its raw materials. Le Chuchotement des Mains, an exhibition presented at Art Paris with a design by artist Lucien Murat, evokes the hybrid zone in which contemporary creation meets the craftmanship of expert artisans. It showcases the synergy that arises when artists and artisans collaborate, featuring a selection of approximately ten works by Yasmina Benabderrahmane, Lucien Murat, Elsa Sahal, Recycle Group, Ittah Yoda, Maude Maris, Fabrice Hyber, and ORLAN.

Art Paris 2025 Prizes

The BNP Paribas Banque Privée Prize. A focus on the French scene (with prize money totalling 40,000 euros) was jointly launched in 2024 by BNP Paribas Banque Privée and Art Paris as a means of supporting the French art scene. This year, the prize will reward the career of a living artist (regardless of age) chosen from among those selected by guest curators Amélie Adamo et Numa Hambursin as part of Immortal: a focus on figurative painting in France. In addition, Art Paris has partnered with Marie Claire, a leading voice in championing women's causes, to launch the Her Art Prize in collaboration with Boucheron. This prestigious award celebrates women artists, with a distinguished jury selecting the winner from among those represented by exhibiting galleries. The recipient of the Her Art Prize will be honored with €30,000 in prize money. Beyond the monetary award, the winner will gain invaluable exposure through a comprehensive domestic and international promotional campaign, orchestrated by Marie Claire and Art Paris. This prize recognizes not only the extraordinary career of a trailblazing woman artist but also a body of work that redefines artistic boundaries.

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NOTES TO EDITORS

Art Paris 2025 will be on view at the Grand Palais, from April 3 – 6, 2025.

www.artparis.com

Address
Grand Palais
Avenue Winston Churchill 75008 Paris

Opening Preview
April 2 | 11 AM – 9 PM (Invitation Only)

Fair Days
Thursday, April 3 | 12 – 8 PM
Friday, April 4 | 12 – 9 PM
Saturday, April 5 | 12 – 8 PM
Sunday, April 6 | 12 – 7 PM

Admission
Thursday & Friday: 30 € / 15 € for students and groups
Saturday & Sunday: 35 € / 20 € for students and groups
2-day Pass: 35 € / 20 € for students and groups
Children under 10: free

Preview Day (Invitation Only)
January 22, 2025
15:00—18:00 preview (Upon invitation)
18:00—22:00 vernissage (Upon invitation)

Fair Days
January 23 – 26, 2025
11:00—19:00 public opening

About Amélie Adamo:
Amélie Adamo is a writer, art historian and independent curator. Her history of contemporary art thesis focussing on figurative art in France in the 1980s was published by Éditions Klincksieck in 2010 and led to an essay published by Éditions Galilée, as well as Passages and Aux sources des années 1980, two exhibitions at the Musée des Sables d'Olonne, which she curated. Since 2008, she has regularly contributed to numerous exhibition catalogues and written articles in specialised magazines, including L'Œil and Le Journal des Arts. In 2023, she co- curated Immortal at MO.CO in Montpellier together with Numa Hambursin. In February 2025, she will curate Luxe Calme et Volupté to mark the reopening of the Centre d'Art La Malmaison in Cannes. The exhibition will look at the painters who travelled to the South of France, while considering hedonism and the way in which it creates parallels between modern and contemporary artists.

About Numa Hambursin:
Numa Hambursin (b. 1979) is an art critic, exhibition curator and general director of MO.CO. (Montpellier Contemporain). After a foundation degree in literature, he studied law (specialising in African cultural heritage law), before opening a contemporary art gallery in Avignon at the age of 23, followed by a second in Montpellier. In 2009, he was appointed director of the Carré Sainte Anne and then Espace Dominique Bagouet in Montpellier, where he organised numerous contemporary art exhibitions. Between 2018 and 2021, he founded and directed the Pôle Art Moderne et Contemporain de la Ville de Cannes, which is composed of three art centres: La Malmaison, Le Suquet des Artistes and Villa Domergue. In parallel, from 2013 to 2021, he managed the corporate contemporary art programme for Hélénis, before creating and launching the Fondation GGL-Hélénis for contemporary art, which was inaugurated in June 2021. Since 2021, he has been general director of MO.CO., a public cultural body comprising two art centres (MO.CO and La Panacée) and an art school (Esba). Numa Hambursin has written extensively about art, notably contemporary painting. In 2018, he was awarded the AICA France art critics prize.

About Simon Lamunière:
Simon Lamunière is an independent exhibition curator based in Geneva. After training as an artist, he worked as an exhibition curator for the Centre pour l'Image Contemporaine in Geneva from 1996 to 2003 and was in charge of the Documenta X website (1997), Art/Unlimited and the monumental art section at Art Basel (2000- 2011). He was director of the 11th Swiss Sculpture Exhibition (2009) and Neon Parallax, a public art project for a series of neon signs around a square in Geneva. He was also curator at Domaine du Muy (2014-2016) and the Triennale du Valais (2017). He devised and directed the art, design and architecture exhibition OPEN HOUSE between 2018 and 2023.

Exhibitors list 2025

General Sector
193 Gallery (Paris, Venice)* • 313 Art Project (Seoul, Paris) • 3812 Gallery (Hong Kong, London)* • Galerie 8+4 (Paris) • A&R Fleury (Paris) • A2Z Art Gallery (Paris) • Afikaris (Paris)* • Alzueta Gallery (Barcelona, Madrid, Casavells)* • Sabrina Amrani (Madrid)* • AMS Galería (Santiago) • Galerie Andres Thalmann (Zurich, Paris) • Galerie Arts d’Australie - Stéphane Jacob (Paris)* • Backslash (Paris) • Galerie Bacqueville (Lille) • Helene Bailly (Paris) • Saleh Barakat Gallery (Beirut) • Galerie Barbier (Paris)* • Beck & Eggeling - Priska Pasquer (Dus̈ seldorf, Paris)* • Galerie Anne- Sarah Bénichou (Paris) • Galerie Berès (Paris) • Galerie Claude Bernard (Paris) • Christian Berst art brut (Paris)* • Bildhalle (Zurich, Amsterdam) • Galerie Binome (Paris) • Galerie Boquet (Paris) • Galerie BSL (Paris)* • Galerie Camera Obscura (Paris) • Galerie Capazza (Nançay) • Chalk Horse (Sydney)* • Clavé Fine Art (Paris) • Galleria Continua (San Gimignano, Beijing, Boissy-le-Châtel, Havana, Rome, São Paulo, Paris) • Dilecta (Paris) • Ditesheim & Maffei Fine Art (Neuchâtel) • Galeria Marc Domènech (Barcelona) • Double V Gallery (Marseille, Paris) • Dumonteil Contemporary (Paris, Shanghai) • Galerie Eric Dupont (Paris) • Galerie Dutko (Paris) • Galerie ETC (Paris) • Clémentine de la Féronnière (Paris) • Les filles du calvaire (Paris) • Galerie Claire Gastaud (Clermont-Ferrand, Paris) • Gowen (Geneva) • Galerie Alain Gutharc (Paris)* • H Gallery (Paris) • H.A.N. Gallery (Seoul) • Galerie Ernst Hilger (Vienna) • Hors-Cadre (Romainville) • Rebecca Hossack Art Gallery (London, Miami)* • Huberty & Breyne (Brussels, Paris) • Ibasho (Antwerp) • Galerie Catherine Issert (Saint- Paul-de-Vence) • Galerie Jeanne Bucher Jaeger (Paris, Lisbon) • Galerie Kaléidoscope (Paris) • Koren Gallery (Paris) • Galerie La Forest Divonne (Paris, Brussels) • Galerie Lahumière (Paris) • Yvon Lambert (Paris) • galerie lange + Pult (Geneva, Zurich)* • Galerie Pascal Lansberg (Paris)* • Alexis Lartigue Fine Art (Paris) • Irène Laub Gallery (Brussels) • Le salon vert (Carouge)* • Le sentiment des choses (Paris) • Galerie Lelong & Co. (Paris) • Galerie Claude Lemand (Paris)* • Fabienne Levy (Lausanne, Geneva) • Galerie Françoise Livinec (Paris) • Loevenbruck (Paris) • Galerie Louis & Sack (Paris)* • Galerie Maria Lund (Paris) • MALA Gallery (Paris)* • Galleria Anna Marra (Rome)* • Galerie Martel (Paris, Brussels) • Meessen (Brussels) • MEL Publisher (Paris)* • Mennour (Paris)* • Galerie Mitterrand (Paris) • Modesti Perdriolle Gallery (Brussels) • Mucciaccia Gallery (Rome, London, Singapore, Cortina d’Ampezzo)* • Galerie Najuma – Fabrice Miliani (Marseille) • Nosbaum Reding (Luxembourg, Brussels) • Galerie Nathalie Obadia (Paris, Brussels) • Oniris.art (Rennes) • Opera Gallery (Paris) • Paris-B (Paris) • Pauline Pavec (Paris) • Galerie Christophe Person (Paris)* • Alina Pinsky Gallery (Moscow)* • Galerie Polaris (Paris) • Polka Galerie (Paris)* • Galerie Catherine Putman (Paris) • Galerie Rabouan Moussion (Paris) • Almine Rech (Paris, Brussels, London, New York, Shanghai, Monaco, Gstaad) • Michel Rein (Paris, Brussels) • Galerie Renard Hacker (Lille)* • Galerie Ritsch-Fisch (Strasbourg) • RX&SLAG (Paris, New York) • Richard Saltoun (London, Rome, New York) • Galerie Rud̈ iger Schoẗ tle (Munich)* • Secci (Milan)* • By Lara Sedbon (Paris) • Semiose (Paris)* • Galeria Senda (Barcelona)* • Sèvres - Manufacture nationale (Sèvres, Paris) • Verart Véronique Smagghe (Paris) • Gallery SoSo (Seoul, Gyeonggi-do)* • Spazio Nuovo (Rome)* • Strouk Gallery (Paris) • Tang Contemporary Art (Beijing, Hong Kong, Bangkok, Seoul, Singapore)* • Galerie Tanit (Beirut, Munich) • Galerie Suzanne Tarasieve (Paris) • Templon (Paris, Brussels, New York) • This is not a white cube art gallery (Lisbon)* • Galerie Patrice Trigano (Paris) • Galerie Dina Vierny (Paris) • W&K - Wienerroither & Kohlbacher (Vienna, New York)* • Waddington Custot (London)* • Galerie Wagner (Paris)* • Wilde (Geneva)* • Galerie Esther Woerdehoff (Paris, Geneva) • Gallery Woong (Seoul) • Galerie Zlotowski (Paris)

Promises Sector
22,48 m2 (Romainville) • Afronova (Johannesburg)* • The Bridge Gallery (Paris)* • Galerie Anne- Laure Buffard (Paris) • C+N Gallery Canepaneri (Genoa, Milan)* • Chiguer art contemporain (Montreal, Quebec City)* • Cuturi Gallery (Singapore, London)* • Galerie Valerie Delaunay (Paris) • Galerie Écho 119 (Paris)* • Edji Gallery (Brussels) * • felix frachon gallery (Brussels) • Hunna Art (Koweït) • Galerie Idéale (Paris)* • Kanda & Oliveira (Chiba)* • La peau de l’ours (Brussels)* • LABS Contemporary Art (Bologna) • Panis (Rouen)* • Camille Pouyfaucon (Paris)* • Prima (Paris) • La Galería Rebelde (Guatemala City)* • Salon H (Paris) • Michèle Schoonjans Gallery (Brussels)* • SEPTIEME Gallery (Paris, Cotonou)* • Tomas Umrian Contemporary (Bratislava)* • wamono art (Hong Kong)*

French Design Art Edition
Reda Amalou Design (Paris) • Maxime d’Angeac (Paris) • Nicolas Aubagnac (Paris) • Pierre Bonnefille (Paris) • Studio Catoir (Paris) • Duvivier Canapés (Usson-du-Poitou) • Atelier Alain Ellouz (Bièvres) • Philippe Hurel (Paris) • Jakob + MacFarlane (Paris) • Patrick Jouin Edition (Paris) • Jean-Yves Lanvin (Milan) • leLAD Editions (Paris) • Pauline Leprince Studio (Paris) • Maugoust Chenais Architecture & Edition (Paris) • Bruno Moinard Éditions (Paris) • Rinck (Paris) • Roche & Frères (Le Puy en Velay) • Galerie Zèbres (Paris)

Other Exhibitors
Villa Hegra • Le Fonds d’art contemporain - Paris Collections • Camille Fournet Paris • Montresso - Art Foundation (Marrakech)

Monographic Exhibitions
A.C.M. (1951-2023) - Galerie Ritsch-Fisch, Strasbourg • Shafic Abboud (1926-2004) - Galerie Claude Lemand, Paris • Clara Adolphs (b 1985) - Chalk Horse Gallery, Sydney • Enki Bilal (b 1951) - Galerie Barbier, Paris • Katia Bourdarel (b 1969)- Galerie Renard Hacker, Lille • Gillian Brett (b 1990) - C+N Gallery Canepaneri, Milan/Genoa • Rafael Domenech (b 1989) - 193 Gallery, Paris • Luciano Goizueta (b 1982) - La Galeria Rebelde, Guatemala City • Loic Le Groumellec (b 1957) - Galerie Françoise Livinec, Paris • Naomi Hobson (b 1976) - Rebecca Hossack Art Gallery, London/Miami • Claudia Lavegas (b 1968) - Galerie Wagner, Paris • Anaïs Lelièvre (b 1982) - Galerie Capazza, Nançay • Vera Molnar (1924-2023) - Galerie Oniris, Rennes • Pitseolak Qimirpik (b 1986) - Chiguer art contemporain, Montreal/Quebec • Israfil Ridhwan (b 1999) - Cuturi Gallery, Singapore • Emma Talbot (b 1969) - Mucciaccia Gallery, Rome/ London/Singapore • Lucia Tallova (b 1985) - Tomas Umrian Contemporary, Bratislava/Paris • Jesse Willems (b 1984) - Galerie Clémentine de la Féronnière • Paris Killion Huang (b. 1999)  Edji Gallery, Brussels.

Image Credits :

1. Fiona Rae, I’ve seen things you people wouldn’t believe, 2022. Presented by Galerie Nathalie Obadia.
2. Danneels Zafir, FLAME, 2024. Presented by Atelier Alain Ellouz.
3. Anthony Miler, Land is Witness, 2024. Presented by Almine Rech.
4. Anas Albraehe, Untitled, 2022. Presented by Galerie Tanit.
5. Emma Talbot, Tangled Soul, 2024. Presented by Mucciaccia Gallery.
6. Anaïs Lelièvre, Coquilles (mur), 2023. Presented by Galerie Capazza.

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PARIS-BASED GALERIE SCENE OUVERTE PRESENTS A MONUMENTAL CERAMIC DOOR BY VINCENT DUBOURG | A BRUTALIST ODE TO THE GATES OF PARADISE

On view at ceramic brussels 2025, the 4-meter-tall door will be presented with works by six international artists and designers who unveil the medium’s potential for innovation and poetic exploration.

Preview Day: Wednesday, January 22, 2025
On View: January 23 – 26, 2025

December 17, 2024 (Brussels, Belgium) – Galerie SCENE OUVERTE is thrilled to announce its participation in the second edition of ceramic brussels, taking place from January 22 - 26, 2025, at the historical landmark Tour&Taxis, Avenue du Port 86C. Dedicated to showcasing visionary creators who redefine the boundaries of artisanal innovation, the gallery will showcase works by five international artists and designers, including the monumental four-meter-tall ceramic door ‘Portes du Paradis’ by acclaimed designer Vincent Dubourg.

Renowned for his hybrid creations that merge furniture, sculpture, and architecture, Dubourg offers a poetic reinterpretation of design. His work challenges the conventions of traditional contemporary furniture through organic, dynamic forms as metaphors of society and nature. ‘Portes du Paradis’ embodies Dubourg’s exploration of thresholds—both physical and symbolic—as spaces of transition, ambiguity, and hope. The installation features mobile panels and a frame crafted from baked earth tablets, reminiscent of ancient Mesopotamian architecture. These elements evoke a tactile connection to humanity’s shared heritage, where the raw material of clay carries the weight of history and the breath of life. Each surface is imbued with a tension between chaos and harmony, reflecting the perpetual movement of transformation and renewal. Drawing from brutalist and constructivist influences, Dubourg’s work transcends mere functionality. In ‘Portes du Paradis’, the door becomes a symbol of humanity’s eternal pursuit of solace and transcendence, a passage between the anguish of existence and the serenity of aspiration.

The presentation will also feature compelling works by other designers, each offering their own vision on materiality and form. Rino Claessens presents his ‘Modular Ceramic Bench‘, a testament to his experimental approach to ceramics. Combining tactile sensitivity with a process-driven methodology to craft unconventional objects. His work bridges the rich history of ceramics with a contemporary vision, highlighting the profound connection between material, hand, and gesture. In addition, Caroline Desile presents ‘Basalt .01‘ and ‘Cantilever .04‘, exploring the dialogue between nature and architecture. Her pieces reflect a perpetual search for balance, merging geometric precision with raw organic textures, questioning both individuality and collective identity through harmonious series.

Finally, Saraï Delfendahl’s ‘Le Roi des Oiseaux’ captures her signature poetic world of terrestrial creatures, blending expressionist naivety with the refinement of ceramic varnishes through a vibrant and mythical narrative where humanity and nature intertwine. Following its presentation at ceramic brussels, Galerie Scene Ouverte will unveil a solo show by the artist from January 30 – March 8, 2025.

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NOTES TO EDITORS

Fair Information Tour&Taxis

Avenue du Port 86C 1000 Brussels Belgium

Preview Day (Invitation Only)
January 22, 2025
15:00—18:00 preview (Upon invitation)
18:00—22:00 vernissage (Upon invitation)

Fair Days
January 23 – 26, 2025
11:00—19:00 public opening

About Galerie SCENE OUVERTE:

Galerie SCENE OUVERTE, newly located at 13 rue Bonaparte, Saint Germain des Prés in Paris, embodies the alliance between contemporary creativity and artisanal excellence. Here, beauty, craftsmanship and the sensations generated by materials converge to create a singular collection of art furniture and ceramics, available as one-off pieces, or very limited editions.

The young designers and ceramists represented by the gallery share a vision that transcends the simple functionality of objects. Their intrinsic creative energy, fueled by in-depth research into materials and know-how, makes them part of a History of the Decorative Arts. In this way, each work becomes the unique story of an era, a total vision of creation.

Our commitment extends beyond each individual creation, embracing the defense of the work of some thirty designers. Accompanying artists on their creative journey becomes a passionate mission, as does introducing buyers to the essence and uniqueness of each object. At Galerie SCENE OUVERTE, each piece emerges as the fruit of a symbiosis between designers and craftsmen, or directly from the artist's hand. The gesture takes on meaning. Each creation, imbued with a palpable uniqueness and undeniable sensitivity, becomes the witness to a rich collaboration at the heart of the Decorative Arts. Passed down from generation to generation, it carries the artistic heritage and creative spirit that define the soul of the gallery. http://galerie-sceneouverte.com/

Image Credits:

Image Credits:

1 & 2. ‘Portes du Paradis’ by Vincent Dubourg, 2019, created for « Dysfunctional », Carpenters Workshop Gallery, Venice 2019, ceramic 460 x 470 x 30 cm. Photography by Paul Hennebelle/Studio Flâneur. Courtesy of Galerie Scene Ouverte.
3. ‘Modular Ceramic Bench,’ by Rino Claessens, 2024, ceramic, 350 x 180 x 46 cm. Photography by Pierre Castignola.
4. ‘Cantilever.04’ by Caroline Desile, 2024, Grog stoneware, glazed inside, 56 x 59 x 8 cm. Courtesy of the artist.
5. ‘Le Roi des Oiseaux’ by Saraï Delfendahl, 2024, glazed ceramic, 50 x 23 x 98 cm. Photography by Paul Hennebelle.

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CERAMIC BRUSSELS 2025 | A WINDOW INTO THE WORLD OF CERAMICS, UNITING CONTEMPORARY INNOVATORS, PAST MASTERS, AND FUTURE VISIONARIES

As the world’s first international art fair dedicated exclusively to ceramic art, this event celebrates the medium’s multifaceted nature, emphasizing its timelessness and versatility as a canvas for diverse artistic expressions.

VIP and Press Preview: January 22, 2025 | 3 PM – 10 PM (by invitation only)
On View: January 23 – 26, 2025

January 7, 2025 (Brussels, Belgium) – Building on the success of its inaugural edition, ceramic brussels 2025 will return to the Tour & Taxis exhibition center in Brussels from January 23–26, 2025. This highly anticipated second edition will showcase 65 galleries from 15 countries, offering visitors an opportunity to explore the work of over 200 artists. As the only event of its scale dedicated solely to ceramics, it captures the current landscape and showcases how the medium is continuously reimagined across borders and time periods. In this way, ceramic brussels 2025 promises an in-depth journey into this ancient yet ever-evolving art form, standing as a testament to ceramics' resilience, adaptability, and cultural significance.

Amidst its broad exploration of the ceramics world, this year's edition stands out in particular for its ability to spotlight notable regional legacies and the visionary contributions of individual trailblazers. In this regard, the ‘Norway focus’ will debut as the fair’s first country-specific event, celebrating Norway’s vibrant ceramic scene by uniting Norwegian galleries, artists, institutions, and key figures to showcase their work and inspire a transnational dialogue on ceramics. Shifting to the individual level, the 2025 Guest of Honor, Elizabeth Jaeger, will present a solo exhibition, offering an intimate look at her distinctive artistic approach. While these two special features receive notable attention, the fair remains committed to revealing new European talents, with the prestigious ceramic brussels Art Prize and several other honors highlighting a wide range of diverse and innovative voices. Additionally, with a 20% increase in new arrivals compared to 2024, the fair presents an exceptionally diverse selection, showcasing both group exhibitions and individual highlights, including solo shows from 20 out of 65 galleries, alongside a notable presence of international participants.

The fair offers a truly global experience, featuring Belgian, French, and neighboring European galleries alongside international representation from North America and Asia. In addition to this international array, many of the galleries represent artists from various countries, showcasing both emerging talents and established names in their group and solo exhibitions. This makes the fair a true reflection of the diversity and breadth of artists within the ceramic medium.

The French Almine Rech Gallery showcases a vibrant group show featuring a compelling selection of artists, including Thu Van Tran, Jean-Baptiste Bernadet, Oliver Beer, Nobuhito Nishigawara, Gordon Cheung, and Eric Croes. The American galleries Hostler Burrows and HB381 Gallery collaborate on a joint exhibition, presenting works by Maren Kloppmann, Marianne Huotari, Sigve Knutson, Sakari Kannosto, Caroline Slotte, Marit Tingleff, and Marianne Nielsen. The contemporary section of the fair also features notable solo shows, such as French Galerie Capazza's presentation of Claude Champy and the Belgian gallery Sorry We're Closed's showcase of Jun Kaneko.

Expanding on its thematic scope from last year, the second edition of ceramic brussels weaves past and present by introducing a dedicated section focusing on galleries representing 20th-century modern ceramics. This addition offers a nuanced perspective on the current ceramic scene, fostering a dialogue between contemporary ceramics and the iconic works that have shaped the medium over the past century and continue to influence ceramic artists to this day. Above all, this section also reflects the ongoing market interest in modern ceramics, emphasizing its pivotal role in the field's growing relevance. First introduced in 2024 with the single participation of Galerie Michel Giraud (FR), this year’s expanded focus on modern ceramics presents a significant number of old masters, represented by a diverse range of galleries. Notable among them is French gallery Thomas Fritsch – ARTRIUM, which presents a group show featuring celebrated artists such as André Borderie, Pol Chambost, Georges Jouve, Suzanne Ramie, Jacques & Dani Ruelland, Vera Szekely, and Gilbert Valentin. Belgian gallery Lancz Gallery contributes with a remarkable group show, highlighting works by Arthur Craco, Jan Cobbaert, Alfred William Finch, Roger Somville, and Omer Coppens. The Hungarian acb Galéria joins in with a powerful collection, featuring works by Lajos Csertő and Judit Vida. Additionally, the solo show from French gallery Hélène Bailly presents a rare opportunity to view the works of Pablo Picasso, adding a resonant name to this selection of iconic 20th-century masters.

A Special Focus on Norway
Adding another layer to its expanding international scope, ceramic brussels 2025 will spotlight Norway's influential ceramic art scene with a dedicated ‘Norway focus’ and a special program of talks, ‘Norwegian Day’, on January 24, 2025. This special focus emphasizes the importance of national art scenes as sources of inspiration and models of best practices, underscoring their critical role in shaping the global landscape of contemporary arts and crafts. In collaboration with Norwegian Crafts, a non-profit organization dedicated to enhancing the international visibility of contemporary Norwegian craftsmanship, the fair invites the global ceramic community to explore a national context where ceramics continue to innovate and thrive. Showcasing the work of five leading galleries such as Format, QB Gallery, RAM Galleri, Kiosken, and Skog Art Space, visitors will be introduced to both established and emerging Norwegian artists of the field. With a delegation of key figures from Norway's ceramics industry participating in meetings and panel discussions, this initiative goes beyond showcasing exemplary Norwegian ceramics. It creates a dynamic platform for the exchange of ideas and best practices, fostering deeper dialogue through cross-cultural collaboration.

A Guest of Honor Embodying Innovation
In line with its dedication to highlighting the most innovative and influential voices in contemporary ceramics, ceramic brussels proudly announces Elizabeth Jaeger as this edition’s Guest of Honour, with her work represented by the renowned Mennour gallery in Paris. Praised by Jean-Marc Dimanche, co-director of ceramic brussels, as a highly innovative artist among a new generation of ceramic creatives, Jaeger is celebrated for transforming the medium into a powerful emotional dialogue, demonstrating that ceramics is not merely a visual art form but also a profound channel for emotional engagement. Through her poetic yet dissonant sculptures, she explores memento mori, blending personal narratives with hand-crafted depictions of everyday objects and figurative forms. Her work encourages viewers to engage with ceramics on a deeply introspective level, provoking emotional and existential reflections.

Awarding New Voices in Contemporary Ceramics
ceramic brussels is not only an exhibition space and marketplace for top-tier ceramics but also a vital platform for emerging talent, with the ceramic brussels Art Prize spotlighting new voices in the medium. This prize supports Europe-based ceramic artists without gallery representation, offering a contrast to the established artists showcased at the fair. Open to artists with fewer than 10 years of experience, it provides exposure and opportunities to those who might otherwise have limited access to the art world. With over 350 applications in 2024, the prize highlighted the growing interest in ceramics and reaffirmed the fair’s commitment to fostering fresh perspectives in the field.

The prize will recognize 10 laureates, selected by an esteemed international jury, with their works featured in a group exhibition next year. This follows this year’s showcase of last year’s winners, curated by Jean-Marc Dimanche. In addition, the selected artists will be included in a special publication initiated by the fair. From this group, one artist will receive the prestigious Jury Prize, which includes a solo exhibition, shedding an honorary spotlight on their artistic vision. This year, Damien Fragnon, the recipient of the 2024 Jury Prize, will present his work in a dedicated solo exhibition. Additional prizes from local and international institutions will also be awarded to other laureates, further amplifying their recognition and opportunities.

A Fair for Thought
Through a program of conferences and debates, ceramic brussels serves as a platform for intellectual engagement, inviting visitors to explore the world of ceramics through dialogue and discovery. In 2025, this initiative will address pivotal issues in the field, including challenges ceramics face in European museums, their integration into mixed-media practices, the impact of 3D technology, and their role in public spaces. By fostering synergy among artists, galleries, collectors, and institutions, these sessions aim to promote collaboration, highlight emerging trends, and inspire meaningful discussions, enriching understanding and advancing the global conversation on contemporary ceramics.

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NOTES TO EDITORS

ceramics brussels will be on display from January 23 – 26 at Tour & Taxis exhibition center in Brussels, Belgium.

Address: Avenue du Port / Havenlaan 86C, 1000 Brussels, Belgium

VIP & Press Preview
January 22, 2025 | 3:00 PM – 10:00 PM (by invitation only)

Fair Days
January 23 – 26, 2025 | 11:00 AM – 7:00 PM

About ceramic brussels:
ceramic brussels brings together more than 60 galleries, institutions, and key players in ceramics, in a unique scenography, in the heart of Europe. For this 2025 edition, the fair opens its doors to modern ceramics, welcomes the participation of renowned institutions, and emphasizes its international scope. As such, a special focus on Norway highlights its vitality and the rich and innovative ceramic art scene.

Image Credits:

1. ‘Hks’ by Eirik Falckner. Courtesy of Kiosken Gallery.
2. ‘Orange Dripping’ by Andres Anza, 2023. Courtesy of Galleria Anna Marra.
3. Gordon Cheung, 2024. Courtesy of Almine Rech.
4. ‘PP2’ by Eyvind Solli Andreassen, 2021. Photography by Thomas Tveter. Courtesy of Format.
5. ‘Untitled’ by Jun Kaneko. Courtesy of Sorry We’re Closed.
6. Daphne de Gheldere, Presented by SPAX Projects. Courtesy of the artist.
7. ‘From the series Genealogy / on adjusting’ by Monika Patuszynska, 2019. Courtesy of Galerie Christine Colon.

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ARTEFACT x MOONARIJ I A CELEBRATION OF COLOR, LIGHT, AND PATTERN IN CONTEMPORARY GLASSMAKING

On View: November 15 – December 20, 2024

November 13, 2024 (Berlin, Germany) – ARTEFACT Gallery is pleased to present the first exhibition of Berlin-based design brand MOONARIJ. On view from November 15 - December 20, 2024, a curated selection of limited-edition glass vases and vessels celebrates contemporary design and heritage craft. Intertwining a kaleidoscope of colors in bold radiant hues, each piece embodies an intricate sense of joy through elegant patterns of transparency and reflection. Designed in Berlin and hand-blown at a local manufacturer in Dresden, Moonarij’s objects honor the glassblowing traditions of the region and the mastery of glassmaking. In dialogue with Moonarijs' collections, artist Caterina Renaux Hering unveils a new series of 15 silicone-cast artworks, engaging in a playful exchange of colors with the glass vases. Through these pieces, Hering deepens her exploration of femininity, portraying it as the nurturer of life, and the very form that existence crafts to seduce the production of life continuously. This vision is complemented by a fresh series of botanical-inspired drawings, envisioning the vibrant flora destined to fill the vases.

Moonarij’s collections imprint the art of contemporary craftsmanship onto the ancient perception and utility of vessels. An homage to the heritage and artistry of glass-making, exceptional mastery is employed through two distinct processes where two artisans intricately shape each vase into life. Pulled canes are meticulously cut and laid out into the zigzag design. Subsequently folded on a glass bulb, the cane is blown and shaped into a statement vase. By crafting small batches of handblown glass vases, each piece is one of a kind. Their finely crafted forms and patterns have a haptic presence, channeling the luminosity of glass and the skill of accomplished craftsmen. Experimentation with different techniques, such as overlapping and crossovers crucial to drifts and swirls, is imperative to Moonarij’s aesthetic language. The intuitively shaped objects possess a sophisticated and understated elegance in both pattern and form – each piece is signed and numbered.

ARTEFACT Gallery is honored to present Moonarij’s first solo show – reflecting its mission to engage in a continuous conversation of contemporary art, collectible design, and craftsmanship. Celebrating the distinct voices of both emerging and established artists and designers, Artefact’s commitment to fostering a dynamic creative community is embodied by the rich variety of the gallery’s programming, alternating between exhibitions solely dedicated to art or design and those that seamlessly blend both disciplines.

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NOTES TO EDITORS

ARTEFACT X MOONARIJ will be on view at Artefact from November 15 – December 20, 2024.

The vases are available for purchase via Artefact Gallery and MOONARIJ.

Address:

Artefact
Geisbergstraße 12,
10777 Berlin
Germany

Opening Times:

Monday – Friday | 10 – 6 p.m. and by appointment.

About MOONARIJ:
Moonarij is a Berlin-based, female-founded design brand focused on handcrafted vases. Captivated by the art of glass blowing, Johanna Wichelhaus teamed up with renowned glass artists in 2022 to develop first iterations of her sketches of striped bud vases. The designs evolved into the brand‘s first collections – the Oona, and the Narij, followed by the Large Bucket, Oona Baby, and Zigzag collection. Voluminous in shape, iridescent in color, and meticulously crafted, hand-blown, and hand-sculpted, Moonarij vases stand out as mesmerizing objects of beauty.
www.moonarij.com | @moonarij_objects

About CATERINA RENAUX HERING: 
Caterina was born in 1985, in the south of Brazil and currently lives in Berlin where she recently finished her master degree in Fine Arts at Universität der Künste - UDK, under the mentorship of Professor Valérie Favre.

Caterina Renaux Hering creates artworks that span a diverse range of media, all driven by the intent to lend forms for the mystifying subjective substances that animate emotions. She engages with drawings, ceramic sculptures, assemblages, music, costumes, and performance as vehicles for crafting a language that resonates with the most delicate and dense aspects of sensibility. Her work places the body at the center of these investigations, exploring themes such as transience, eroticism, delight and duration, in a quest to make sense out of genuine sensation.
caterinarenauxhering.com | @caterinarenauxhering

About Artefact Gallery:
Artefact is a Berlin-based gallery and project space presenting contemporary art and collectible design. We are dedicated to fostering a dynamic and inclusive community by supporting both emerging and established artists and designers in articulating their unique perspectives. Our collaborators are entrusted with unrestricted creativity, with the freedom to explore, experiment, and express themselves without limitations.
artefact.berlin | @artefactgallery.berlin

Previous exhibitions include:
‘A Family Affair’ by contemporary Berlin-based artists Anna Virnich, David Prytz, and Winfried Virnich.
‘Blushing out of Blue’ by Berlin-based Brazilian-born artist Caterina Renaux Hering.
‘Transparency, Form and Color’ featuring contemporary Berlin-based artist Nadine Schemmann and mid-century glassware attributed to glass artist Albin Schaedel.

Image Credits:
1. - 6. ARTEFACT x MOONARIJ. Courtesy of Artefact Gallery, 2024.

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GEORG DOKOUPIL UNVEILS ‘VENETIAN BUBBLES 2.5’ AT OSTHAUS MUSEUM IN HAGEN | WINNER OF THE KARL ERNST OSTHAUS PRIZE

Extending through the museum’s two largest rooms, the exhibition presents an insightful exploration of Dokoupil’s oeuvre, reflecting a liberated body of work that reimagines traditional mediums and defies artistic categorization.

Press Tour: November 29, 2024 | 11 a.m.
On View: November 30, 2024 – February 23, 2025

October 23, 2024 (Hagen, Germany) – As the winner of the 2024 Karl Ernst Osthaus Prize, a distinguished German cultural award granted biennially to visual artists, Georg Dokoupil is invited to present his solo exhibition ‘Venetian Bubbles 2.5,’ at the Osthaus Museum in Hagen, Germany, as part of the honor associated with this accolade. Curated by Reiner Opoku, the exhibition is set across the Neue Galerie and the Zentrale Halle, two of the largest spaces in the museum, featuring the artist’s first-ever large sculptural works in glass, nine large-scale paintings, a series of works on paper, and 20 small-sized bubble canvas. On view from November 30, 2024 – February 23, 2025, this contemporary intervention reflects the artist’s longstanding exploration of new materials and techniques, and innovative approaches to glassmaking with freedom, play, and humor, while capturing the ephemerality of existence.

A key figure in the Neue Wilde movement in Germany and known for his unconventional experimentations in the global art scene, Georg Dokoupil has never been confined to a specific genre or style. Instead, he transcends traditional practices, using unusual materials such as whip marks, candle soot, or fruit, and soap bubbles, demonstrating a multiplicity of approaches to painting and a body of work that defies categorization.  

In ‘Venetian Bubbles 2.5’ Dokoupil presents nine large-scale paintings (ranging from 200 x 400 centimeters) depicting colored soap bubbles. Since the late 1970s, the artist has been exploring the subtleties of his technique, mixing soap-lye with pigments, and blowing bubbles onto a canvas coated with paint, guiding their burst to leave intricate organic imprints. These unpredictable patterns evoke a sense of spontaneity that challenges the control of the artist and the notion of permanence often found in the painting practice. Dokoupil simultaneously reflects on deeper themes of the human condition – the breath used to conceive the bubbles, evokes the fugacity of existence, while their imprints on the canvas reveal textures of the ephemeral. Presenting an insightful exploration of the artist’s body of work, the small-scale paintings displayed in the Zentrale Halle reveal the intricate layers and dynamic movements within Dokoupil’s enduring fascination with bubbles and foam.

The Neue Galerie hosts the complete series of works presented in ‘Venetian Bubbles’ – Dokoupil’s exhibition at Museo Correr in Venice earlier this year. Among the pieces, the artist’s new glass sculptures are an extension of his renowned Soap Bubble Paintings – their temporal element is now expressed in a three-dimensional space, narrowing the distance between the viewers and the subtleties of his practice. Seven metal bottle racks (80 – 200 centimeters tall) are adorned with glass bubbles of various bright hues. The artist names them ‘Homemade Venetian Bubbles’ honoring their national origin from various manufacturers and master craftsmen in crystal glass from the Bohemia region in the Czech Republic. Instructing the glassmakers to explore new creative dynamics in the sculptural process, the artist disrupts established techniques and the expectations associated with craftsmanship. The glass bubbles hanging on female-shaped bottle racks bring forth a striking juxtaposition between fragility and strength, underscoring recurring existential themes of transience and permanence in Dokoupil’s oeuvre. Captured and conserved at the peak of their existence, the bubble sculptures uncover layers of complexity and nuance in their form, texture, and spatial presence, inherent in the artist’s practice.

Among the highlights of the exhibition are the ‘Open Bubbles Condensation Cubes,’ a nod to Dokoupil’s former teacher Hans Haake’s ‘Condensation Cube’ (1963/68), which encapsulates glass bubbles within a box filled with condensed water. The work embodies Dokoupil’s approach of incorporating the environment and viewer into the art itself, mimicking a living system within the artwork.

‘Venetian Bubbles 2.5’ is an evolution of Georg Dokoupil’s multifaceted artistic practice – As delicate bubbles are transformed into timeless expressions of artistic ingenuity, Dokoupil's new works reflect his enduring pursuit of innovation, challenging the boundaries of artistic mediums through themes of impermanence and transcendence.

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NOTES TO EDITORS

‘Venetian Bubbles 2.5’ will be on view at the Osthaus Museum in Hagen from November 30, 2024 – February 23, 2025.

Press Tour:
November 29, 2024 | 11 A.M.

Address:
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58095 Hagen
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About Georg Dokoupil:
Georg Dokoupil’s main subject is painting. He refuses to be subordinated to a personal style, attitude, or conventional artistic approach. Instead, he operates in a free and not assignable manner right from the beginning of his career in the early 1980s. The artist’s open and experimental spirit creates a wide range of visual worlds through unconventional technical inventions: he puts color on canvas with a whip or with car tires, he creates candle paintings using soot or bound pigments into soap bubbles, only to have them burst on his canvases. The artist is fixing the ephemeral within his pictorial inventions. Georg Dokoupil oeuvre today contains over 60 series and far more than 100 devised techniques or styles.

Dokoupil was born in Krnov, former Czechoslovakia, in 1954. After the invasion of the Soviet army in Prague in 1968, he fled with his family to Germany. From 1976 to 1978, Dokoupil studied fine arts in Cologne, Frankfurt am Main and in New York at The Cooper Union with the conceptual artist Hans Haacke. Dokoupil was founding- member of the German artist groups Mülheimer Freiheit and Junge Wilde, which arose in the late 1970s and early 1980s. The group was associated with the legendary art dealer Paul Maenz who organized Dokoupil’s first solo exhibition in Cologne in 1982. In their shared studio in Cologne on a street named Mülheimer Freiheit, the Junge Wilde sought to explore a contemporary expression for their art by using a neo-expressive, figurative style of intensely colorful painting with traditional subjects and by overriding the intellectual, reduced formal language of Minimal and Conceptual Art. Dokoupil also taught as a guest professor at the Academy of Fine Arts of Düsseldorf from 1983 to 1984 and in Madrid during 1989.

Dokoupil developed a less wild, rather unusual working method and soon found his own radical subjective way with individual considerations. With his “book painting” shown at documenta 7 in Kassel in 1982, Dokoupil widely attracted the attention of the art world. Since then – besides the early group exhibitions with the Mülheimer Freiheit – Dokoupil’s work has been seen in numerous one-man shows in galleries, museums and at other cultural sites worldwide.

Dokoupil lives and works between Berlin, Prag, Madrid, Rio de Janeiro, and Las Palmas.

About Reiner Opoku:
Reiner Opoku is a Berlin based art consultant and international art agent. He has curated numerous international art exhibitions since the early 1980s and is representing a variety of renowned contemporary artists. Reiner Opoku serves as an advisor and initiator for aligning artists and the creative world with institutions, galleries, and brands by creating collaboration platforms, publications and commissioned works.

Image Credits:

1. Georg Dokoupil, Blau-Gold, 2024
, Soap-lye and pigments on canvas, 245 x 400 cm. Courtesy of ©Studio Dokoupil.
2. Georg Dokoupil’s ‘Homemade Venetian Bubbles’, 2024, Metal structure and glass, Courtesy of Office Reiner Opoku ©Studio Dokoupil.

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