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26/06/2026

During Paris Fashion Week, Rick Owens turned extreme temperatures into part of the performance itself.
Staged in Paris (often at the Palais de Tokyo), the show featured garments designed with airflow in mind—billowing silhouettes, exposed structures, and even pieces that felt almost “air-conditioned” in motion.

Drawing on his long-standing collaboration with adidas, the collection fused performance wear with Owens’ signature brutalist aesthetic. The result: clothing that doesn’t just exist in space, but actively interacts with it—catching wind, channeling movement, and turning heat into a design element.

As models moved through the runway, the garments breathed, expanded, and shifted—less like static fashion, more like wearable architecture responding to climate.

In a time of rising global temperatures, it raises an interesting question: is this just spectacle, or a glimpse into how fashion might adapt to a hotter future?

25/06/2026

Eliza Reinhardt recreates iconic artworks through an unexpected medium—textiles, clothing, and layered fabrics—transforming soft materials into striking large-scale portraits.

Following the recent passing of David Hockney, she created a moving tribute: a textile interpretation of his portrait, based on David Perry’s photographic image held in London’s National Portrait Gallery.

Built from carefully arranged fabrics, the work translates photography into texture—shadows become folds, colors become stitched fragments, and likeness emerges through material rather than paint. There’s something especially fitting in this approach: Hockney himself constantly explored new ways of seeing, from painting to photography to digital drawing.

Here, Reinhardt continues that legacy—reconstructing not just an image, but a presence—thread by thread.

24/06/2026

Bella aka Coffee Je11y Makeup is part of a new wave of experimental makeup artists emerging from New Zealand—using the face not just as a surface for beauty, but as a site for illusion, distortion, and visual play.
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In this look, she creates the illusion of a third eye, carefully aligning lashes, shadows, and highlights so the painted features blend seamlessly with her real ones. The result feels uncanny—somewhere between hyperrealism and surrealism—turning the face into a shifting optical puzzle.
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This kind of work reflects a broader shift in how makeup is understood today. Institutions like the Makeup Museum in Baltimore have been instrumental in framing cosmetics not just as tools of beautification, but as cultural artifacts and legitimate forms of artistic expression. Founded in 2008, the museum is dedicated to preserving, researching, and exhibiting makeup from across history—treating everything from ancient pigments to contemporary looks as part of a wider visual culture.
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Seen through that lens, works like this aren’t just “makeup looks”—they’re part of an evolving artistic language, where the face becomes both medium and message.

23/06/2026

Artist Lola Sergent’s 'Juste avant la fin' (“Just Before the End”) suspends a fragile moment in space.
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Composed of knives, nylon thread, wire, and mirrors, the mobile hovers between tension and balance—its sharp elements delicately held in place, reflecting and refracting light as they shift. The work feels both precise and precarious, as if everything could collapse with the slightest movement.
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Part of the ongoing 'Dolorès' project, the piece explores themes of instability, vulnerability, and suspended time—where beauty and danger coexist in a quiet, suspended choreography.

22/06/2026

Braiding, burning, transforming.
Artist Thomas D. Westergaard experiments with candle-making as both craft and performance, weaving multiple strands of wax into sculptural forms that slowly evolve through fire.
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In this test of a braided candle, the act of burning becomes part of the artwork itself. As the flame travels along the intertwined structure, it reveals unpredictable patterns—melting, dripping, and reshaping the form in real time.
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What begins as something carefully constructed gradually gives way to chance, turning the candle into a quiet study of time, material, and impermanence.

21/06/2026

Japanese artist Tomohiro Okazaki joins a major stop-motion exhibition at Skip City Visual Museum SKIP シティ 彩の国ビジュアルプラザ in Tokyo, curated by Niakki creator Yuichi Ito.

Known for his ongoing 'Matches' project, Okazaki transforms ordinary matchsticks into hypnotic sequences of movement—bending, multiplying, and assembling into intricate systems that feel closer to illusion or magic than animation.

Coming from a design background rather than traditional stop-motion, his work explores structure, repetition, and perception, pushing simple materials to their conceptual limits.

On view are fragments and filming materials from 'Matches', now in its sixth year—revealing the meticulous process behind these deceptively simple yet mind-bending works.

The exhibition brings together artists, techniques, and the history of stop-motion animation.

📍 Skip City Visual Museum, Kawaguchi (Saitama)
🗓 Until September 27 (closed Mondays)

20/06/2026

In 'We Make Years Out of Hours', Lithuanian artist Lina Lapelytė turns time into something you can hear, move through, and reshape.

Twelve performers continuously rearrange wooden cubes into shifting formations while singing fragments of poetry spanning from the early 20th century to today. What emerges is a living composition—part installation, part performance—built on repetition, rhythm, and collective action.

Nothing is fixed. Structures appear and dissolve. Voices overlap and drift. Visitors are invited to move through the space and even intervene, becoming part of the choreography themselves.

Commissioned by CHANEL and unfolding inside the Historic Hall of Hamburger Bahnhof - Nationalgalerie der Gegenwart, the work transforms the museum into an evolving landscape where sound, movement, and participation collapse into one shared experience.

📍 Hamburger Bahnhof, Berlin
🗓 01 May 2026 – 10 Jan 2027
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19/06/2026

Artist Danilo García, from San Carlos, Antioquia, transforms leaves into delicate “Botanical Stamps.”

Using a custom stamp-shaped cutout, he carefully removes sections of real leaves so they resemble tiny postage stamps—complete with perforated edges. Each fragment is then collected and arranged into a small booklet, forming a quiet grid of organic impressions.

Titled 'Estampillas Botánicas' (Botanical Stamps), the project sits somewhere between collection, intervention, and observation. What was once part of a living plant becomes an archive—ordered, repeated, and preserved—yet still fragile and transient..

By merging the language of postage with natural forms, García creates a poetic system where nature itself becomes something to catalogue, send, and remember.

18/06/2026

Anish Kapoor’s controversial use of Vantablack feels less like colour… and more like a disappearance.
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Vantablack is one of the darkest materials ever created—made from carbon nanotubes that absorb over 99% of light. Instead of reflecting form, it erases it. Objects coated in it appear flat, depthless, almost like holes cut into reality itself.
Kapoor has controversially trademarked Vantablack prohibiting other artists to use it.
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Kapoor, a British-Indian artist known for monumental sculptures and “void” works, has built a career exploring perception, space, and the unknown. From mirrored distortions to infinite black cavities, his work constantly asks what we can—and can’t—truly see.
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Now on view at the Hayward Gallery in London (16 June – 18 October 2026), his major exhibition transforms the entire building into an immersive experience. Spanning decades of work, it includes large-scale installations, reflective surfaces, visceral red forms, and Vantablack pieces that create optical illusions where solid objects seem to vanish completely.
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The show marks Kapoor’s long-awaited return to the Hayward after nearly three decades, presenting both new and seminal works that blur the boundary between object and void.
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With Vantablack, Kapoor isn’t just working with material—he’s working with perception itself, turning absence into something you can almost feel.
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17/06/2026

Tallulah Haddon’s performance 'Discharge' (often alongside Alina Hma) slides, crawls, and rolls across a floor coated in a thick, slippery substance resembling oil or slime. The body struggles for traction, caught between control and collapse, turning movement into something raw, uncomfortable, and deeply physical.

Though it has been presented in art contexts including Bard College and curated performance programs, 'Discharge' recently spread widely online, where it sparked intense debate—some viewers seeing only shock, others recognizing a deeper symbolic layer.

Haddon has connected her previous work 'Butter Score' to narratives of ritual and survival, referencing a story of a prisoner in Auschwitz who used rationed butter to mark Chanukah. In this context, the slippery substance shifts meaning—from abject material to something tied to endurance, memory, and the human need to create ritual even in extreme conditions.

What initially appears chaotic begins to read as something else entirely: a body navigating instability, searching for meaning in a space where nothing holds.

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