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La Galerie Max Hetzler a le plaisir de présenter THERAPY, une exposition personnelle de nouvelles œuvres de KAWS aux adresses Bleibtreustraße 45 et 15/16 à Berlin. Il s’agit de la première exposition de l’artiste avec la galerie.
Berry Campbell Gallery is pleased to announce its fourth exhibition of paintings by contemporary artist Eric Dever. Eric Dever: Points of Interest is an exploration into the temporal dimensions of plant life and the ecological impact of climate change. Dever lives and works in Water Mill, New York, and often looks to his studio garden for inspiration. His “points of interest” further extend to Water Mill’s surrounding watershed, regional travel to arboretums and botanical gardens, nature reserves, and notable historic vistas, reflecting a sustained engagement with natural and cultivated environments.
Zander Galerie Paris is honored to announce its upcoming exhibition revisiting The PS1 – Special Project by Peter Downsbrough. Originally conceived in 1980 for an exhibition at MoMA PS1 in Long Island City, New York, this project marked one of Downsbrough’s earliest exhibitions incorporating photography. Through a dialogue between what the artist describes as “photographs which look at a situation” and the architecture they are placed in, the work invites viewers to reconsider the interplay between space, light, and the urban environment.
Paul Thiebaud Gallery is pleased to announce its representation of the Estate of Dennis Leon (1933-1998) and the gallery’s first exhibition of the artist’s works. On view starting May 17th, Dennis Leon: Collage, Pastels, and Sculpture 1975-1990 will have its celebratory reception on Saturday, June 7th, from 3-5 pm with remarks at 3:30 pm. Featuring a monumental collage, six pastels of different sizes, and four intimately scaled, unique cast bronze sculptures, each work conveys Leon’s interest in the landscape and his desire to intervene in the land to make his artistic mark. The exhibition will be on view through July 3, 2025.
From 13 June to 22 September 2025, the Centre Pompidou is giving German artist Wolfgang Tillmans free rein to create a unique project to mark the end of the exhibition programme at the centre in Paris. He is taking over the 6,000 m2 of level 2 in the Bibliothèque Publique d'Information (Bpi) and transforming the space by means of a curatorial experiment. This installation creates a dialogue between his work and the library space, questioning it both as an architectural structure and as a place for the dissemination of knowledge.
Peintre riche d'une oeuvre de plus de mille toiles, Nicolas de Staël (1913-1955) a tout sacrifié à son art, poussant toujours plus loin ses recherches. Entre frénésie créatrice et affres existentielles, le portrait sensible d'un génie tourmenté, diffusé en marge d'une exposition au musée d'Art moderne de Paris.
Mennour presents its first exhibition devoted to the last period of the work of Gaston Chaissac (1910-1964), an “outsider” artist positioned between modern and contemporary art, who claimed to be an “artist, poet and farmer”.
Sean Kelly is delighted to present Moon, Turn the Flames…Gently Gently Away, Awol Erizku’s inaugural solo exhibition at Sean Kelly, Los Angeles. Continuing his critical investigation of identity politics, resistance, and abstraction, Erizku offers a cosmology of visual language that disrupts conventional narratives of representation. The exhibition presents new photographs, neon installations, and sculptures that underscore Erizku’s distinctive approach to symbolism and cross-cultural dialogue.
Almine Rech Brussels is pleased to present 'In my cloud (NO birds)', Jenny Brosinski's third solo exhibition with the gallery, on view from June 12 to July 26, 2025.
In 'In my cloud (NO birds)', Jenny Brosinski brings together painting and sculpture to form a cosmos in which materials and colors—surrounded by empty space—reveal their pure presence. What does it look like in the artist’s clouds, and what does the absence of birds suggest? What happens when something is not there, and how do you deal with emptiness? Brosinski approaches these questions in her signature style: dirty minimalism. Her work is reduced yet expressive, minimal but blooming with human gesture—always with a certain rawness. The clouds, or rather the air, become fluidly perceptible. There is no overload; instead, the focus is on painting that goes straight to the core. It’s about the essence of existence, which can also accommodate absence.