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“Bring Me Men” is the first solo exhibition by London-based American artist Gray Wielebinski Gray Wielebinski (b. 1991, ...
06/18/2026

“Bring Me Men” is the first solo exhibition by London-based American artist Gray Wielebinski Gray Wielebinski (b. 1991, Dallas, TX) at Nicoletti Contemporary NıCOLETTı , running from 28 May to 4 July 2026. A follow-up to the gallery’s solo presentation of his work at Frieze London 2025, Wielebinski uses his first major gallery solo of the year to interrogate the construction of masculinity — its myths, its materials, and its violences — through sculpture, collage, installation, and scent. Thom Oosterhof visits Nicoletti.

Discover in CAI Magazine

Words by

Gray Wielebinski
NıCOLETTı

All images courtesy the artist and Nicoletti Contemporary

On view through June 20 at Galerie Tobias Naehring Tobias Naehring in Leipzig, “No Long Term (the last paintings)” bring...
06/16/2026

On view through June 20 at Galerie Tobias Naehring Tobias Naehring in Leipzig, “No Long Term (the last paintings)” brings together nine new paintings by Seth Pick Seth Pick (b. 1985, Reading, based in Berlin) — a painter not so much unknown as under-discussed — and, on the evidence of this exhibition, an increasingly urgent one. The works span oil on linen, accumulating figures, interiors, symbolic fragments, and organic forms into surfaces that appear permanently mid-transformation: bodies becoming landscape, structures becoming flesh, images folding in on themselves to produce something that is neither narrative nor symbol but simply, insistently, there.

Words by Julien Delagrange

Seth Pick
Tobias Naehring

All images courtesy of Galerie Tobias Naehring © Seth Pick

Claiming Space, the first solo exhibition by London-based painter Jai Chuhan Jai Chuhan artist at Lo Brutto Stahl’s Par...
06/14/2026

Claiming Space, the first solo exhibition by London-based painter Jai Chuhan Jai Chuhan artist at Lo Brutto Stahl’s Paris space, is on view from 9 May to 20 June 2026. Spanning works from 1990 to the present and curated by Omar Kholeif, the exhibition traces over three decades of a practice built on layering, erasure, and the slow structuring of mood. Thom Oosterhoff paid a visit.

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Words by

Jai Chuhan artist


Without a doubt one of the more intriguing conversations we’ve had recently. We interviewed Eva Chapkin Vera on the occa...
06/12/2026

Without a doubt one of the more intriguing conversations we’ve had recently. We interviewed Eva Chapkin Vera on the occasion of her current solo exhibition titled “Dislocation” at Arsmonitor in Bucharest. It was difficult to pick just one stand-out quote from our conversation, but the following words have been lingering in my mind ever since.

Eva Chapkin: “The self-portrait is an act of desperation, a shameful act of my presence. It’s a desperate act to remember. Although the moment I remember, I prefer to distance myself from identifying the subject and look at it as if I’ve never seen this person before. I don’t want to possess myself, I want to forget myself completely. I think the irony would have a place in the act itself, a hypocritical allegory to the idea that I want to disappear, but I still need proof that I existed. I want it to be genuine; it’s the only way this act can be for me.”

Read the complete interview in CAI Magazine.

Directed by Julien Delagrange

Vera


Katya Shkolnik KATYA SHKOLNIK | ARTIST is a Soviet-born, Milan-based multidisciplinary artist working across photography...
06/11/2026

Katya Shkolnik KATYA SHKOLNIK | ARTIST is a Soviet-born, Milan-based multidisciplinary artist working across photography, video, sound, and large-scale installation. Trained as a nuclear engineer before committing to artistic practice, her biography reads as a series of sovereign redirections, each a small act of will against the grain of a life that, by her own account, was effectively pre-assigned. The work that emerged from this improbable itinerary is organized around a single, persistent obsession: time—not as a metaphor, but as a physical and perceptual phenomenon whose structure she believes art is uniquely equipped to expose.

Discover in CAI Magazine.

Words by Julien Delagrange

On view through September 1 at Galeria Reus in Palma, curated by Sofía Moisés, “Un cuchillo que no corta” marks the fir...
06/10/2026

On view through September 1 at Galeria Reus in Palma, curated by Sofía Moisés, “Un cuchillo que no corta” marks the first public presentation of a genuinely new direction in Alejandro Javaloyas’s practice. The title — A Knife That Does Not Cut — announces the exhibition’s central paradox: an instrument that implies violence but withholds it, a form that points toward rupture while remaining suspended just before the wound. What follows is a body of small-format works that operate, formally and conceptually, in exactly that register: hovering, almost trembling, suspended, and utterly unresolved.

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Words by




Four years ago, we wrote our first educational articles for CAI Advice for Artists. Today, it is one of the most trusted...
06/08/2026

Four years ago, we wrote our first educational articles for CAI Advice for Artists. Today, it is one of the most trusted global platforms for industry-approved career advice.

And it all happened very naturally.

CAI started as an online magazine, occasionally demystifying the art world in a way that proved helpful for many artists. As a result, the CAI community began requesting more practical guides, free resources, webinars, and eventually also tools, templates, and consultations.

And so we provided.

Not only because we were asked, but predominately because we should. There is an acute lack, and tremendous need, for transparent and accessible information for artists. Today, too many hard-working artists in search for genuine opportunities are vulnerable to exploitation through vanity galleries, irrelevant open calls, false coaches/gurus, and online courses that have little to do with the actual art world. Simultaneously, numerous talented artists that struggle to find their path and are left in despair and frustration.

So we expanded our mission and activities, almost as a moral duty, to empower and support artists through information, tools, and career paths, directly derived from the field. CAI Advice for Artists was therefore never a business venture. We never promoted or advertised it, or even shared it here on Instagram. And to this day, for every tool or template, there is a free article or video. The growth has been 100% organic, sincere, and based on a quality-first and artist-first mission.

Four years later, we have served over 10,000 artists. Real people and real progress, illustrated by our publicly available and verified reviews on Trustpilot: 4.8/5 overall, with 95% five-star ratings. It has been a journey more than worth it, and one that truly warms the heart.

Now, CAI Advice for Artists will soon launch the CAI Artist Program: a holistic program compiling all research, information, conversations, and data into the most comprehensive online educational resource for artists to date, to give every artist an honest chance to build a meaning, sustainable career.

Learn more on CAI.

Serpentine presents Picture Making, a major solo exhibition by British artist Cecily Brown .brown1969 , on view at Serp...
06/04/2026

Serpentine presents Picture Making, a major solo exhibition by British artist Cecily Brown .brown1969 , on view at Serpentine South, Kensington Gardens, London from 27 March to 6 September 2026. The exhibition marks Brown’s first major solo presentation of paintings in a UK institution in over twenty years. We sent Thom Oosterhof to find out more.

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Words by

brown1969

Artwork images courtesy of Serpentine and Gagasion © Cecily Brown / Photo: Genevieve Hanson

Installation views courtesy of Serpentine © Cecily Brown / Photo: Jo Underhill

“Ian Rayer-Smith’s work never settles into quotation, homage, or easy virtuosity, even though virtuosity is clearly ava...
05/22/2026

“Ian Rayer-Smith’s work never settles into quotation, homage, or easy virtuosity, even though virtuosity is clearly available to him. You feel the echo of Renaissance composition, light, and choreography. You sense the emotional abrasion of Abstract Expressionism. At moments, there are loose parallels one might place somewhere between Cecily Brown’s muscular unruliness, Martha Jungwirth’s feverish sensitivity, Flora Yukhnovich’s appetite for excess and painterly pleasure, or even Arne Quinze’s insistence on organic energy as a visual condition in his recent paintings. But Rayer-Smith is not stitching together a moodboard for the cultured eye. The paintings clearly have their own metabolism. They push, pull, scrape, bloom, and threaten to come apart, often reaching their most convincing state precisely when they seem one brushstroke away from trouble. He has the rare instinct to know when a painting is about to tip into mud, noise, or bombast, and to stop there—or go there on purpose, yet without apparent plan.”

Words by Sylvia Walker

Read the full conversation with Ian Rayer-Smith in CAI Magazine.



05/21/2026

Curator Thom Oosterhof discusses the body, truth, and the essential power of cropped imagery in ‘In the Body Lies the Truth’ at IOMO Gallery in Bucharest.

Full story in CAI Magazine


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