Summary

• Photographer Karl Hab returns with a special anniversary edition of his photography book capturing the spirit of Los Angeles
• The expanded release features unseen photographs alongside reflections from local creatives like Dr. Woo and Chris Gibbs

Photographer Karl Hab is celebrating a major milestone with the launch of the 24H Los Angeles - 10 Year Anniversary Edition. A decade after its original debut, this expanded release captures the city’s unique rhythm from sunrise to nightfall, blending ground-level perspectives with sweeping aerial views to portray the full spirit of Los Angeles.

The reimagined hardcover book features previously unseen photographs, exclusive new content, and intimate moments gathered over years of exploration from dawn to midnight. Offering a fresh yet deeply personal look at the city, the 180-page, one-kilogram volume acts as both a tribute to Los Angeles and a celebration of the photography that started it all.

To elevate the project beyond a visual journey, Karl Hab invited leading voices from Los Angeles’ creative community to reflect on what the city means to them. The book includes contributions from artist Alex Israel, renowned tattoo artist Dr. Woo, photographer Shaniqwa Jarvis, entrepreneur and cultural tastemaker Chris Gibbs of Union Los Angeles, master trainer Kirsty Godso, and legendary helicopter pilot Fred North. Their collective perspectives transform the publication into a comprehensive portrait shaped by the people who live, create, and move within the city.

The 24H Los Angeles - 10 Year Anniversary Edition is available for pre-order now via 24Hbooks.com, with the first edition officially publishing in 2026.

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Summary

• Wrightwood 659 in Chicago is opening Chinatown USA by the late Chinese-American artist Martin Wong
• New York's P·P·O·W Gallery is concurrently presenting Popeye, focused on Wong's fascination for comic books and tattoo imagery

The late Martin Wong never got to visit China, he never spoke the language. Like many Asian Americans, his understanding of motherland was puzzled through fragments of stateside exports. Yet place, evidenced by his storied graffiti collection and street-forward oeuvre at large, remained central to him, and nowhere more so than Chinatowns.

Wrightwood 659 and P·P·O·W Gallery are teaming up to present partner exhibitions dedicated to legendary Chinese-American artist. Between Chinatown USA in Chicago and New York’s Popeye, the shows brings more untrodden aspects of Wong’s work into clear focus, taking shape as visual biographies of the artist and his ardent eye towards both East-meets-West and subcultural imagery.

Wong first revealed his Chinatown works in a now historic 1993 show at P·P·O·W. The exhibition at Wrightwood 659, titled Chinatown USA, is a direct callback to that moment, gathering over 100 paintings, sculptures, drawings and photographs across two floors of the Tadao Ando-designed museum.

Curated by Yasufumi Nakamori and Ashley Janke, the showcase brings us onto the streets of Chinatowns, imagined both as a personal and mystical space for the artists. Ornate dragons soar beside Peking Opera performers. Mom-and-pop shops, pagoda-roofed buildings and grandiose parades are figured in psychedelic delights. Wong thought of his view of Chinatown was that of an outsider, and his paintings lean into the exoticism.

Meanwhile, in New York, P·P·O·W Gallery is staging Popeye, which explores the artist’s fascination with comic book and tattoo subcultures. Curated by Mark Dean Johnson and Anneliis Beadnell, this show is animated by massive cutouts of the titular sailor in his signature allover brick façade patterning, reuniting eight major sculptures from his final decade. Channeling the sensual and comedic in equal measure, the exhibition, as the gallery describes, “[highlights] an under explored throughline in Wong’s output that is equally indebted to lowbrow comix as it is to the highbrow associations of Asian and European art histories.”

Chinatown USA is now on view at Wrightwood 659 in Chicago through July 18, while P.P.O.W.’s Popeye opens on April 18 and will remain open through May 30.

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Summary

• Sony announced the winners of the 2026 World Photography Awards
• Standout titles include Citlali Fabián (Photographer of the Year), Elle Leontiev (Open Photographer of the Year), Jubair Ahmed Arnob (Student Photographer of the Year) and Philip Kangas (Youth Photographer of the Year)

The winners for this year’s Sony World Photography Awards have arrived. The 2026 victors hail from a pool of over 430,000 images from 200 countries and territories, and the final lineup represents our best, from under-19’s to pros, in a stunning visual celebration of humanity’s many textures.

Citlali Fabián took home the Photographer of the Year title, the competition’s highest honor, for her series “Bilha, Stories of my Sisters.” Overlaying digital illustration and portraiture, the series is an ode to the women of the Yalalteca Indigenous community in southern Mexico, emphasizing their achievements and experiences, with hopes to inspire their next generation.

Other overall winners include Australian photographer Elle Leontiev, who secured the Open category win for “The Barefoot Volcanologist,” and Student Photographer of the Year, Jubai Ahmed Arnob of Bangladesh, for his dreamy studies of landscapes in the face of urban erasure in “The Place Where I Used to Play.” Meanwhile, Philip Kangas from Sweden took the cake in the Youth category for a journalistic shot of firefighters saving a painting from a fire at Stockholm’s Royal Academy of Fine Arts.

Beyond the top spots, gripping compositions and serene, moving scenes caught our eye across the competition. These stories include Documentary Project’s winner Santiago Mesa and his investigation into coca farmers, and Todd Antony’s shots of Tajikistan’s ancient horse-riding sport, buzkashi, which won in Sports. A cinematic morning capture of Myanmar’s young fishermen from Kyaw Zayar Lin and an editorial-ready black-and-white duet portrait by Obaroh Oghenemairo, both of whom won National Awards for Myanmar and Nigeria respectively, also don’t miss.

Over 300 winning and shortlisted works from the competition are now on view at London’s Somerset House through May 4. Head to the organization’s website to check out the galleries for yourself and learn more about how to enter next year’s contest.

Somerset House
Strand,
London WC2R 1LA,
United Kingdom

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Summary

• ODITI and Six Nations Rugby have partnered to introduce the championship's first official tournament artwork
• Artist Tanguy Bourhis has been appointed to create the visual identity for the 2026 men's and women's competitions
• The collaboration pushes back against AI-generated media to reintroduce collectability and craftsmanship to global sporting events

Creative platform ODITI and Six Nations Rugby have officially joined forces to unveil the 2026 Official Tournament Artwork. Marking a historic first for the long-standing championship, the collaboration bridges the gap between competitive sport and visual culture. Artist Tanguy Bourhis has been tapped to craft authored, human-made pieces for both the men's and women's tournaments, signaling a new creative chapter for the rugby institution.

Despite the extensive heritage of the Six Nations, the tournament has never previously commissioned official artwork. The initiative actively revives a celebrated tradition from the 1970s and 1980s, an era when major sporting events regularly partnered with renowned artists to embed sport more deeply within visual culture. Drawing lineage from Salvador Dalí's 1974 FC Barcelona centenary artwork and Joan Miró's 1982 FIFA World Cup poster, the project serves as a direct pushback against the modern reliance on standardized digital assets and AI-generated visuals.

By investing in a human-centric approach, ODITI and Six Nations aim to restore a sense of craftsmanship and collectability to the sport's visual identity. The effort reflects rugby's increasing integration into fashion, media, and social storytelling, moving beyond the pitch to establish the championship as a broader cultural property.

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Summary

• Photographer Josie Hall is set to present her debut show at Have A Butchers in London from April 17 through May 1
• The show explores the craft of kendo, a modern Japanese martial art, visualized through her haunting, stylized signature

Discipline and ritual — in kendo, the Japanese martial art that translates to the “way of the sword,” technique is only half of the story. “What interested me was how the way of the sword correlates directly to how one operates in daily life,” photographer Josie Hall told Another about her new series, Red Patience. “It’s not just about combat, but how it acts as a framework for living: discipline, composure under pressure, responsibility and respect.”

Red Patience takes the spotlight in the London-based artist’s debut show at Have A Butchers gallery in Haggerston. Running from April 17 through May 1, the exhibition puts the lens on the centuries-old practice of kendo, translating its ritualized choreography into a suite of sublime captures.

Rather than documenting the sport straight-up, Hall fractures, bends and layers masked kendoka in large-scale prints. Across the series, figures appear suspended, saturated in chemical hues. Swordsman, ghostly overlayed atop themselves, muddy the line between opponent and self. Hall’s study of motion extends beyond still images into a collaborative video work with artist Mike Lamont. Scored by Cheng Zhuang, the moving-image piece pins down the series’ fixation on light, color and, namely, motion, capturing the tension of kendoka at rest and mid-strike.

 

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This sensitivity to form and style traces back to Hall’s early days in fashion. She first broke onto the scene by way of styling, under the wing of photographer and stylist Venetia Scott, and later Nick Knight. From this, she sharpened an instinct for surface and composition. Her eye, which drifts between documentation and dream, is seamlessly carried across her personal work, editorial projects and major fashion campaigns, for the likes of Prada, Isamaya Ffrench, Balenciaga and Martine Rose.

Kendo, then, with its balance of ancient discipline and contemporary performance, is the perfect subject. Hall’s images, at large, find home in the sweet spot between the past and present, dream and nightmare, visualizing nostalgia as its felt: wispy, fleeting and almost haunting. “I like it when you’re looking at the image and you’re not entirely sure what you’re looking at, and you question how it got to that point,” she described in a 2022 interview. “It’s about finding a limbo between both.”

Have A Butchers
1a Dunston Rd,
London E8 4FA, UK

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The Museum Rietberg in Zürich, Switzerland, has just opened its doors to a new exhibition that brings a contemporary lens to colonial-era photography.

Titled A Kind of Paradise, the showcase unites 20 artists from the diaspora, each known for their thought-provoking works surrounding race, class and historical narratives. Using their practices to explore identity, the featured pieces exhibit how divisive photographs can be reclaimed to spotlight the untold stories behind the art.

The expansive exhibition is split into four main sections: Shapeshifters; Confrontation; Care; and In the Photo Fantastic. The first category, Shapeshifters, takes viewers through a series of lost photographs that includes Brazilian crafter Rosana Paulino fusing personal images onto materials while other multimedia artists, such as Cédric Kouamé, introducing snapshots onto more sculptural displays.

The Confrontation section explores the after-effects of colonization where people brought with them new traditions to communities across the globe. Works from artists, archivists, and curators, such as Senegalese photographer Omar Victor Diop, depict these clashes of cultures through collage or snippets of archival magazines.

The final two areas, Care and In the Photo Fantastic, confidently rewrite history by transforming oppressive narratives into inspirational stories of resilience. As seen in Mary Enoch Elizabeth Baxter’s featured artwork, subjects are layered with shields of armor, elsewhere Raphaël Barontini makes Congolese women the heroines of his art.

Hoping to raise awareness and understanding around its poignant themes, Museum Rietberg will also be holding several events over the course of the exhibition’s showcase including panel talks with the artists as well as interactive tours that provide further context.

To find out more about the schedule and buy tickets to A Kind of Paradise, head to Museum Rietberg’s website now.

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Summary

• Drake's well-documented appreciation for Sade has reached new heights with the commissioning of a custom 9-foot sculpture
• Created by artist Rebecca Maria, the massive piece is directly inspired by the singer's classic 1992 Love Deluxe era
• The entirely hand-shaped artwork was meticulously crafted over six months using five different types of clay
• Drake is certainly not being subtle about his deep-rooted obsession with Sade anymore. The Toronto rapper has officially taken his fandom to the next level, commissioning a massive, custom 9-foot sculpture dedicated to the legendary singer. Brought to life by contemporary artist Rebecca Maria, the towering new artwork pays direct homage to Sade’s iconic Love Deluxe era, permanently immortalizing the musical icon's influence in a striking physical form.

Standing as a monumental tribute, the sculpture is a true labor of love and meticulous craftsmanship. According to the artist, the expansive project took a full six months to complete. Bypassing modern shortcuts, Maria shaped the entire 9-foot structure completely by hand, carefully molding and blending five different types of clay before it finally reached its definitive, striking form.

The resulting piece perfectly captures the sleek, timeless aesthetic of the Love Deluxe period, reflecting the quiet luxury and soulful energy that defined the masterpiece. For Drake, who already proudly boasts multiple tattoos of the enigmatic singer, this latest high-profile commission serves as the ultimate flex and a profound testament to Sade's enduring creative legacy.

 

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Summary

• Public Art Company debuts new installations at Coachella by Sabine Marcelis, Kyriakos Chatziparaskevas and Los Angeles Design Group
• Running through the festival's durations, the works directly respond to the desert energy and environment, offering pockets of rest and reflection for visitors

It’s that time of year — Coachella is in the air. Adding to the heat of Weekend 1's spectacles and performances, Public Art Company (PAC) makes a return as this year's art provider, planting a new crop of immersive installations around the Indio festival grounds.

Curated by PAC founder Raffi Lehrer and Paul Clemente, the art director of Goldenvoice, this year's outdoor suite was created in response to the immediate environment, reflecting shifting light and energies of the desert while offering moments of stillness, play and wonder for audiences journeying between stages.

“What unites them is a shared generosity; each piece is designed to be entered, sat beneath, wandered through, and genuinely felt,” Lehrer expressed. “We're curating for the body as much as the eye.”

Headlining this year's program is an inflatable maze by Dutch designer Sabine Marcelis, alongside London-based architect Kyriakos Chatziparaskevas' 40-foot pleated cacti and a brutalist, totemic tower by Los Angeles Design Group (LADG). Read on to learn more about the art playground at Coachella 2026.

“Maze”

Inspired by the natural contours of Coachella Valley, Marcelis' "Maze" taps into her love for light, the sensorial and, of course, bold hues. Soft, canyon-like PVC forms rise and fall, making for cool pockets for reflection within the warm, ombre landscape. By day, the piece "[meets] the eye like a desert mirage," filtering light and sound. When the sun goes day, it evolves into an illuminated oasis that glows from within.

“Starry Eyes”

Chatziparaskevas takes the barrel cactus, a prickly plant native to the region, to new heights. "Starry Eyes" takes shape as a towering clusters of pleated forms. Viewers can enter the installation at the base of the "cacti," where swells of colors double as shady rest stops.

“Visage Brut”

The LADG, led by Andrew Holder and Claus Benjamin Freyinger, and computational construction group Stud-IO Construction link up for a lofty, tower of geometric boxes. The duo describes each box as "just short of losing its structural integrity," with forms cut, warped, folded and rolled, each christened by a stack of anthropomorphic figures. The work builds on the group's exploration into urban history and form, resulting in a sculpture mass that shift to filigree lattice as day becomes dusk.

Heading to Weekend 2? Public Art Company's installations will be on view from April 17 through 19 around the festival.

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Summary

• The Vatican City released featured artists for its upcoming Holy See pavilion showcase for this year’s Venice Biennale
• The lineup includes 25 musicians, poets, architects, filmmakers and artists exploring the contemplative power of sound

Vatican City’s Holy See Pavilion will host music’s top talents for its sound-based presentation at next month’s Venice Biennale, featuring works by FKA Twigs, Dev Hynes, Brian Eno and Patti Smith.

Curated by Hans Ulrich Obrist and Ben Vickers, the exhibition, titled The Ear is the Eye of the Soul is based on the life and legacy of Benedictine nun Saint Hildegarde of Bingen, a medieval abbess, poet, healer and composer, also known as the patron saint of writers and musicians. “The exhibition takes the form of a sonic prayer,” reads the project statement, “a call to the contemplative act of listening.”

The exhibition will straddle Venice at two venues: The Mystical Garden of Discalced Carmelites in Cannaregio, and the Complesso di Santa Maria Ausiliatrice in Castello. The Garden will host new sonic commissions by Twigs, Eno and filmmaker Jim Jarmusch which channel Hildegard’s chants, writing and images. A site-specific instrument by Soundwalk Collective, the co-presenting group, tunes into the sounds of the 17th-century convent and its surrounding gardens. A series of wind chime installations by Precious Okoyomon will also be on view.

Crosstown, the Castello complex reimagines “scriptoriums,” medieval rooms where scribes copied and illuminated manuscripts, through a contemporary lens. At the heart of this space stands German author and director, Alexander Kluge’s, final work, described by the organizers as “a towering 12-station film and image installation unfolding across three rooms.” Nearby, Tatiana Bilbao will unveil new monastery architecture beside a living archive of multilingual texts, building off of pavilion’s 2025 presentation for the architecture biennale.

Additional names on view include Otobong Nkanga, Ilda David, Kali Malone, Moor Mother, Kali Malone and Holly Herndon & Mat Dryhurst. The Ear is the Eye of the Soul will be on view in Venice from May 9 to November 22.

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Summary

• Louis Vuitton is adding a new Berlin destination to its ongoing Travel Book series this Spring 2026
• The project features original illustrations by Croatian artist Miroslav Sekulić-Struja
• The release spans a standard edition, a large-format collector's edition, and a highly limited 30-copy leatherbound version

Continuing its legacy of blending exploration with artistic expression, Louis Vuitton has officially unveiled the Louis Vuitton Travel Book Berlin. Releasing in Spring 2026, the latest addition to the house's curated collection of journey-inspired sketchbooks transports readers to the German capital. This time, the brand has tapped Croatian illustrator Miroslav Sekulić-Struja, whose distinct visual style guides a narrative where two characters cross paths amid themes of memory, pain, and healing.

The Berlin volume will be offered in multiple formats to suit both casual readers and dedicated art collectors. The standard edition arrives in a 28x19 cm landscape format featuring 152 pages printed on 120g Crush Corn Favini offset paper. For those seeking a grander display, the large-format collector's edition scales up to 38.4x26.3 cm, is limited to 1,000 copies, and is printed on 170g Freelife Velum paper. Both mainstream variations boast six-color printing, silk-screened hardback covers, elastic bands, and colored edges, complete with trilingual text in French, English, and German.

Elevating the release even further is an ultra-exclusive limited edition restricted to just 30 signed and numbered copies. Available solely at selected Louis Vuitton boutiques, these premium iterations feature traditional slipcases and leather bindings crafted at the Opus Manu Factum workshops in Padua, Italy. Each limited-edition book is accompanied by a unique lithograph by Sekulić-Struja, printed at the Atelier Michael Woolworth in Paris.

The Louis Vuitton Travel Book Berlin drops Spring 2026 via Louis Vuitton stores, selected bookstores, and the brand's official website.

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Summary

• American painter Celeste Dupuy-Spencer passed away on April 10, 2026 at the age of 46
• Dupuy-Spencer was known for her unapologetic images of American life amid social and political upheaval
• Jeffrey Deitch gallery, who announced the news, will present an exhibition dedicated to the artist in their LA space later this week

Celeste Dupuy-Spencer, the painter whose work turned political pressure points into intimate reckonings, passed away at 46 years old in her home in Los Angeles on April 10. The news, without disclosing a cause, was shared the following morning by Jeffrey Deitch gallery.

Dupuy-Spencer’s paintings capture the eccentricities and fractures and that embody an often contradictory national psyche. Her figures, tender in some places, unsettling in others, are rendered in frantic brushwork, grounding them in political reality as it plays out.

Her best known piece is “Don't You See That I Am Burning” (2020), an evocative seven-foot-square scene of the January 6 riot with guns, confederate flags and ferocious crowds piling before the capitol. The piece illuminates Dupuy-Spencer’s empathetic and ardent eye when it came to political flashpoint, also seen in “Back to Where the Start Ended ('A Greeting to You from the Mud')” (2024), which depicts Israel's bombardment in Gaza and “Sarah” (2017), an intimate bedside scene with a former partner.

“She looked at everything we’re too afraid to, spend our lives ignoring, denying, scrolling past, pretending isn’t there,” said Nina MacLaughlin, the writer of Dupuy-Spencer’s forthcoming debut book, Burning in the Eyes of the Maker. “She looked. And she showed us.”

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Born in New York in 1979, Dupuy-Spencer grew up in Rhinebeck and studied art at Bard College. Though she never formally finished her BFA, through school, she became connected with prominent art figures, like professors Nicole Eisenman and Amy Sillman.

She later moved to New Orleans, where she stayed and worked in rehab facility, recovering from addiction. At the time, she lost interest in art, though, on a whim, moved to Los Angeles, where she met gallerist Nino Mier. Mier “immediately fell in love” with her work, and mounted a sold-out solo for the artist in 2016, which catalyzed her meteoric rise.

The following year, she was one of few painters to be included in the sculpture-heavy 2017 Whitney Biennial. In 2018, she was tapped to partake in the Hammer Museum’s Made in L.A. biennial, to which the edition’s curator, Anne Ellegood, who described her as “one of the painters of her generation.”

While her work channels the horror, anger and longing of contemporary life, love and tenderness persist in equal measure. “One of the things that’s happening in my work is like a sympathy for, not in a pitiful way, but sort of sympathy for humanity,” Dupuy-Spencer told the Whitney Museum.

In the wake of her passing, Jeffrey Deitch gallery will honor the artist with a show of recent works at their LA space later this week.

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Summary

• Photographers Nadia Lee Cohen and Scarlett Carlos Clarke have collaborated on a new photo book titled Podunk, published by IDEA Books

• Shot entirely on Super 8 film in a remote town in California's Mojave Desert, the project features 128 black-and-white stills exploring themes of matriarchy, surreal femininity, and weird family dynamics

• The book celebrated its official launch at Dover Street Market Ginza in Tokyo

Photographers and longtime friends Nadia Lee Cohen and Scarlett Carlos Clarke are pulling back the curtain on their latest collaborative project, Podunk. Equal parts ominous and eerie, the enigmatic new photo book published by IDEA Books captures the weirdness and surrealness of womanhood, femininity, and motherhood. Ahead of the book's official launch earlier last month, the two creatives revealed what it was like during their grueling desert shoot and the rebellious instinct of shooting on actual film in a heavily digital age.

Taking its name from the modern American slang for an insignificant or isolated town, Podunk was shot in Lancaster, California—a remote town located in the Mojave Desert's Antelope Valley. The project features 128 stills extracted directly from Super 8 film, which marks a deliberate departure from Carlos Clarke's typically colorful work. The photographers told Dazed, the spontaneous, freezing desert shoot captured a distinctly "matriarchal" energy. "The stills felt like a black and white art movie," Cohen noted. "There was something matriarchal about the whole thing—not a grown man in sight."

The decision to launch the book in Japan was actually inspired by a cinematic parallel. Cohen likened the raw footage from Podunk to Onibaba, a classic Japanese film about women fighting to survive while the men are away at war. That underlying matriarchal theme became the emotional core of the book, making Tokyo the perfect destination for the physical launch.

Having been friends for nearly a decade, the two have built a deep level of trust that heavily influences their creative output. This intimate dynamic allowed them to strip away the rigid, stressful nature of modern commercial photography. By keeping the crew incredibly small and leaning into the less precious, unpredictable nature of shooting on Super 8 film, the duo managed to capture a raw authenticity that avoids the heavily posed, high-definition aesthetics so prevalent on social media today.

Podunk by Nadia Lee Cohen and Scarlett Carlos Clarke is officially out now via IDEA Books. The photo book celebrated its global launch with a special event at Dover Street Market Ginza late last month.

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Summary

• ICA Miami will present Perfect Nonsense by director and artist Harmony Korine
• Opening April 15, the exhibition marks Korine's U.S. museum debut
• The show features over 50 works created throughout his life, including paintings, drawings, photographs, zines, collages, films and notes

Director, artist and EDGLRD ringleader, Harmony Korine, is set to open his first U.S. museum survey next week at ICA Miami. With over 50 works in tow, the exhibition will “trace the full arc of [his] career,” spanning pre-Gummo works to recent projects.

The show’s title, Perfect Nonsense, reflects the irreverent, almost acidic air that’s surrounded Korine throughout all of his artistic chapters. Structured as a series of thematic encounters, the survey brings life to his enduring curiosity with outsider narratives, social criticism, hedonism, celebrity, authenticity and the peculiarities of American teenage life.

The exhibition starts in 1997 with collages, paintings and handwritten notes created on the heels of Kids (1995). Themes and motifs during this era would later give rise to deeper explorations of aggressions and subcultural aesthetics, as seen his 2009 VHS-shot, black comedy Trash Humpers and the “Shadow Fux” paintings created with artist Rita Ackerman, also on view.

Subsequent sections include “Twitchy” paintings — ghostly forms that blend low-resolution iPhone captures with traditional painting techniques — and a dedicated “Florida Room,” which examines the changes in the Miami artscape, where he now resides, compared against the gothic fabric of the American South. Additional photographs, zines and drawings are peppered throughout.

Aggro Dr1ft, Korine’s infrared “post-cinema” project starring Travis Scott, closes out the exhibition, gesturing towards more recent moves in gaming culture and virtual spaces.

Perfect Nonsense will be on view at ICA Miami from April 15 through October 4. Head to ICA Miami’s website for more information.

ICA Miami
61 NE 41st St,
Miami, FL 33137

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Summary

• Prada Mode will arrive in New York for its 14th edition, presenting Satellites II by Hideo Kojima and Nicolas Winding Refn
• The showcase features installations and performances within the hotel and across the city, exploring themes of connection, creativity and love

Satellites II, a new exhibition by gaming polymath Hideo Kojima and filmmaker Nicolas Winding Refn, will take over New York’s Hotel Chelsea for the 14th edition of Prada Mode. Coinciding with the Tribeca Film Festival, the show will be open to the public from June 5 to 7, with a private members club running from June 3 to 4.

The forthcoming presentation follows Satellites, Kojima and Refn’s collaborative project shown at Prada Aoyama in Tokyo around the same time last year. Satellites II builds off the original show, diving deeper into the artists’ friendship and creative dialogue. Images so far suggest that we can expect a similar sci-fi transformation of the space, with films on retrofuturist televisions exploring themes of love, language and creativity.

During the earlier private program, guest rooms will be reimagined into “micro television studios,” each hosting an original performance. For public viewing days, the same spaces will house installations.

The exhibition will be accompanied by a slate of cultural events, including talks, concerts, performances and curated dining experiences. Additional site-specific works will appear through the hotel and around the city, expanding on the show's exploration of human connection and communication.

Check out Prada’s website for more information on Prada Mode.

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Summary

• Radiohead is launching an audiovisual art installation titled Motion Picture House: KID A MNESIA
• The immersive experience will debut in a massive purpose-built subterranean bunker at Coachella 2026
• Following the festival premiere the exhibition will travel to Brooklyn, Chicago, Mexico City, and San Francisco

Radiohead has officially confirmed the impending arrival of its Motion Picture House: KID A MNESIA audiovisual installation, beginning with a massive debut at Coachella 2026. Initially envisioned as a real-world exhibition before transitioning into a digital format in 2021, the ambitious project will now invite fans into a tangible, immersive environment celebrating the band's landmark Kid A and Amnesiac albums.

For its festival premiere, Coachella has constructed a sprawling 17,000-square-foot subterranean bunker with 38-foot ceilings specifically to house the exhibit beneath the Empire Polo Fields. The core of the installation is a 75-minute large-format film directed by Sean Evans, which utilizes thousands of artistic fragments — including sketches, collages, and paintings — created by frontman Thom Yorke and longtime visual collaborator Stanley Donwood between 1999 and 2000.

Described by Yorke as a narrative "in which a Monster is trapped in a derelict museum of the lost & forgotten," the visual elements are paired with a custom six-point surround sound system blasting newly remixed audio from the original album multitracks. Following its initial run in the desert, the exhibition will embark on a limited North American tour. The touring setup will offer two-hour blocks, giving attendees 75 minutes for the main film and additional time to wander through adjacent galleries displaying full-scale artwork from the era.

The Motion Picture House: KID A MNESIA installation debuts at Coachella across both festival weekends, with subsequent tour stops running from May 2026 through February 2027. General admission tickets for the tour dates go on sale April 24, following a fan pre-registration period that closes on April 12.

Motion Picture House: KID A MNESIA Installation

May 6, 2026 - May 31, 2026
Brooklyn – Agger Fish Building

July 30, 2026 - August 23, 2026
Chicago – Cinespace Studio

October 27, 2026- November 15, 2026
Mexico City – La Maravilla Studios

January 14, 2027 - February 7, 2027
San Francisco – Palace of Fine Arts

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Summary

• Fondazione Prada unveils a new multimedia installation by Chinese artist Cao Fei in Milan
• The exhibition traces the global agricultural technological revolution through virtual reality and documentary footage
• Visitors can explore the deep connections between ancient traditions and modern drone technology

Fondazione Prada officially presents Dash, an immersive new multimedia project devised by Chinese artist Cao Fei for its Milan headquarters. Opening its doors on April 9, the extensive exhibition represents the culmination of a long-term research initiative exploring the rapid emergence of smart agriculture across global landscapes.

Following a fortuitous encounter with XAG, a world-leading agricultural robotics company, Cao Fei spent three years documenting the integration of artificial intelligence and drone technology into traditional farming practices. The exhibition unfolds across the Podium's ground and first floors, offering a multi-layered narrative that physically intertwines the virtual and the real. Inside, visitors step into a carefully curated environment that juxtaposes a traditional rice granary tent and a temple woven from fertilizer bags against solar energy panels and smart agricultural equipment.

A central piece of the showcase is a virtual reality game installation titled “Dash-180c,” which places users in the subjective perspective of a discarded model 180c agricultural drone within a radically transformed futuristic landscape. The upper level further grounds the sensory experience with an array of historical documents, scientific slides dating back to 1984, and an automated vertical farming station. Through these meticulous spatial arrangements, the project questions how humanity can redefine the value of labor and repair spiritual bonds with the land in an era heavily influenced by artificial intelligence.

Cao Fei’s Dash exhibition runs from April 9 until September 28 at the Fondazione Prada in Milan.

Fondazione Prada
Largo Isarco 2, 20139
Milan

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It’s time for the underground to break the surface, says Jo “22” Frias, the artist and composer behind Red Expanse. It’s a statement, not suggestion, that animated the label’s recent group show in New York. How do means of survival become silenced? When does action need noise? According to Inocentes, that time is now.

Frias founded the label and, now, publishing house in 2014 as a platform to release his own projects. Over the years he’s garnered a global network of like-minded artists, frustrated with the confines of commercial artmaking, and has kept busy making films, releasing books and putting on shows ever since.

Inocentes ran from March 5 through 8 in Downtown Manhattan, marking a major meeting of minds for the indie publishing world and their artist communities. Curated by Frias alongside Pablo Jomaron of Red Lebanese and Alien Libros’ Javier Salomón, the show gathered 21 artists from around the world — including Alfonso Gonzalez Jr., Ari Marcopoulos, Gogy Esparaza and Malik Sidibé — bound by a mutual passion for artistic resistance and freedom of expression.

"What this exhibition offers is what remains to us: visual poetry and expressions of fantasy, belief and love...Standing for. Standing against."

“In many ways, we are all innocents in the face of the violence that defines today’s world,” the exhibition text reads. Its titular theme, often tied to chastity and virtue, is well paired with pieces embodying revolt and friction. “What this exhibition offers is what remains to us: visual poetry and expressions of fantasy, belief and love...Standing for. Standing against.”

Many works channeled the purity and intuitive clarity of childhood. A photo installation by Kaila Ozuna sees children playing with toy soldiers and a white dove in flight, wings outstretched. Daniel Derro’s tender “Baby wise” print on silk drifts overhead, while “Los Quince” by Sthephany Pattano evokes warmer, sentimental memories of youth.

Elsewhere takes a darker turn in a messier, fleshier reflection of our contemporary world. Ropes cut into Joachim’s plush sculptures. Casino coin pushers and jail games by Estética del Crimen play on systems of punishment and reward. “Katarsis” from Romeiro Cruz layers scenes of youth into overlapping fragments, each vignette pressing against the next like competing memories.

"The show is the unification of independent groups that have accepted commitment for only currency."

Innocence, here, is not passive. It’s having hope of brighter days ahead because the future might still belong to those willing to take matters into their own hands. “Inocentes is setting the precedent that independence is not a pipe dream,” says exhibiting artist Chems. “When talented individuals come together under a common cause, they can move mountains.”

The collaborative, punkish attitude that helms show also reflects a longer-running relationship between its organizing platforms, Red Expanse, Red Lebanese and Alien Libros, based in New York, Paris and Mexico City, respectively. Through the years, they’ve leaned on each other to put out works, books and mount guerilla-style exhibitions.

“The show is the unification of independent groups that have accepted commitment for currency,” Frias explained. “[At Alien Libros] we value artists’ spontaneity, knack and obstinacy more than their technical skill and erudition,” added Salomon. Another five-artist group show in Mexico City, according to Frias, is currently in the works.

"We can no longer stay low. We can’t stay out of the way."

The case for the underground is summed well by researcher and featured name Joseph Cochran II, who prefaces an Inocentes artist panel with Byun Chul Han’s concept of “glass architecture”: little sticks in a frictionless world; the underground, then, provides texture through risk. Community through friction. “We can no longer stay low,” he wrote. “We can’t stay out of the way.”

“[The exhibition] rejects the safety of knowing your audience and instead builds something that answers first to the people inside it,” expressed Yasmina Hashemi, another artist on view. “It restores a condition for culture to exist at all. One where risk is legible again, where relationships matter, and where meaning isn’t immediately absorbed into the feed.”

With this eternal imagining, and reimagining, of innocence comes questions of deservedness and devotion. What survives after the world bears its teeth. The exhibition didn’t want to ease this tension, but bring to life stories within it: narratives of love and loss, and the responsibility, salvation even, that sits in their place.

Inocentes was supported by Carhartt WIP.

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Summary

• Italian firebrand artist Maurizio Cattelan unveiled a new performance artwork, a sinners hotline titled "The Confessional"
• Callers are encouraged to submit secrets via WhatsApp through April 22 and select sinners wills be "absolved" by the artist in a livestream
• The launch coincides with the artist's new "La Nona Ora" edition release with Avant Arte

Whether you’re wicked or maybe just a little guilty, Maurizio Cattelan is collecting sins. For his next act, the art world enfant terrible is playing priest in “The Confessional,” his a new participatory artwork and hotline.

Now through April 22, audiences are invited to spill secrets via voice note, text or phone call. Submissions will be personally reviewed by the artist and select callers will be absolved by Cattelan himself in a special livestream event on April 23.

Despite a firebrand reputation, the Catholic-inspired work isn’t an attempt to scandalize, the artist told The Guardian. “I don’t see it as absolution. It’s not religious authority, it’s a shared gesture. Confession exists in different forms everywhere – even outside religion.”

The dial-up confession booth coincides with the second coming of the artist’s controversial 1999 work,“La Nona Ora,” which depicts pope John Paul II, an equally hot-button figure, struck down by a meteorite. Arriving in a devilish edition of 666, the hand-painted resin sculpture was produced in collaboration with Avant Arte and miniaturizes the original into a shelf-sized figurine.

The sculptural edition is purchasable by random draw, though those who submit a confession will gain early access, and select sinners will receive one for free.

Avant Arte calls “La Nona Ora” Cattelan’s most sacrilegious piece. The meteorite, added to convey a sense of power and prominence, has particularly stirred outcry. While it was on display at the Zachęta National Gallery of Art in Warsaw in 2000, the rock was removed by a pair of Polish politicians, which led to the ousting of the museum’s director. Despite this, Cattelan seems to still be in the church’s good graces after being invited to exhibit at the Vatican’s Venice Biennale pavilion in 2024.

“Catholicism is something you grow up inside, even if you try to step out of it. It’s belief, theater, control, comfort, all at once. I’m not trying to defend it or attack it,” the artist continued.

“I’m interested in the images it produces and the tension they carry. If someone feels offended, it probably means the image is still alive.”

For sinners inside the U.S., call +1 601 666 7466 to take part in "The Confessional." Those outside the country are encouraged to participate via WhatsApp (+44 746 240 6938).

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Summary

 
• The exhibition features a 14-foot inhabitable aquarium where visitors can recline inside a glass enclosure accompanied by a custom soundtrack by Nicolas Godin of Air

 

• Marking her first solo show in France, the presentation at Thaddaeus Ropac Paris explores "Californian Occultism" through surrealist paintings and iridescent telephone booths

Ariana Papademetropoulos has brought her West Coast brand of "Californian Occultism" to the heart of the Marais. Marking her first solo exhibition in France, Glass Slipper is now on view at Thaddaeus Ropac Paris, transforming the gallery into a surrealist environment where hyperrealism and vaporwave aesthetics collide.

Central to the exhibition is "Water Based Treatment," a massive, inhabitable aquarium that serves as a "heterotopia" within the gallery walls. Visitors are invited to climb inside the glass enclosure, reclining on a built-in mattress while listening to an ambient soundtrack composed by Nicolas Godin of the French duo Air. Surrounded by a shoal of shimmering "kissing fish," the installation functions as both an intimate sanctuary and a theatrical stage.

Beyond the central tank, Papademetropoulos’s new large-scale paintings collapse the boundaries between interior and exterior worlds. Drawing on references ranging from *The Wizard of Oz* to Jungian psychology, the works depict domestic symbols—gingham dining chairs and Louis XV-style armchairs—adrift in volatile natural landscapes.

Upstairs, the artist moves into the realm of the "unapologetically artificial." Three iridescent, shell-shaped telephone booths—inspired by the vintage interiors of the Tropicana hotel-casino in Las Vegas—hang from the walls. When the receivers are lifted, visitors can listen in on intimate recorded exchanges between the artist and her medium, further blurring the line between the physical world and the spectral. Complementing these are small-scale works depicting microwaves in various stages of combustion, reworking classical motifs like Correggio’s "Jupiter and Io" into the language of modern appliances.

By grounding quantum uncertainty and ancient mysticism within the theme, Glass Slipper reveals what Papademetropoulos calls the "fissures of the imagination," those moments where the familiar world begins to crack and a magical world takes hold.

Glass Slipper is on view at Thaddaeus Ropac Paris Marais through April 11, 2026.

Thaddaeus Ropac
7 Rue Debelleyme
75003 Paris, France

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Dozie Kanu returns with a new immersive dialogue at Fondazione ICA Milano. Running through May 23, ‘The Second Shadow’ pairs the Houston-born, Portugal-based artist with the late Marc Camille Chaimowicz for an exhibition that blurs the lines between sculpture, domesticity, and memory. Curated by Rita Selvaggio, the project rejects traditional white-cube staging in favor of two autonomous "rooms" that function as psychological landscapes.

In this parallel environment, Kanu’s contribution acts as a living archive, blending his own sculptural practice with selections from the Nicoletta Fiorucci Collection. Known for finding high-art tension in repurposed materials and found objects, Kanu uses this site-specific intervention to bridge the gap between functional design and autobiographical narrative. It is a resonant look at the "double," where influence isn't a direct lineage, but a constant process of refraction.

Read on below for our Q&A with Dozie Kanu as he breaks down the evolution of his practice and the making of The Second Shadow.

"My practice in conversation with Chaimowicz allows the viewers to move between two different understandings of how objects might carry emotion, memory, and identity."

How does placing your artworks next to Chaimowicz’s room change the way people are supposed to use or look at them?

My work in close proximity to Chaimowicz’s room which he dedicated to his admiration for Jean Cocteau creates a kind of conversation that crosses time and deals with domestic space, social stature and how meaning is capable of accumulating through proximity. Marc’s work is very atmospheric. He pays attention to arrangement, and exudes sensitivity to taste and interior life. My work comes from a different set of references, but I also think deeply about domestic space as a site where cultural values are rehearsed and performed. So basically, my practice in conversation with Chaimowicz allows the viewers to move between two different understandings of how objects might carry emotion, memory, and identity.

What made you choose specific pieces from the Nicoletta Fiorucci Collection to sit alongside your own new work?

I tried my best not to think about the selections as a traditional curatorial exercise, or as a way of building any kind of historical argument. The starting point for me was actually Marc Camille Chaimowicz’s relationship and admiration to Jean Cocteau, who he described less as a direct reference and more as a kind of phantom companion who accompanied his formation. That idea stayed close to me. I stayed focused on selecting work from Nicoletta’s collection that could operate in a similar way in relation to my own work. Not as quotations or influences in a direct sense, but as works that echo or extend certain aspects of my artistic language.

The selection became about identifying artists and specific practices that touch on things that are present in my practice, whether it be furniture and domestic space treated as sculpture, questions of ambiguous or constructed subjectivity, and material that carries memory, whether political, personal, or diasporic. I wasn’t trying to overtly illustrate those ideas, but to allow the works to sit in the space almost like companions, so that the room becomes a place where these different sensibilities coexist and quietly inform one another.

In that headspace, my insulation is less a curated exhibition and more a kind of living environment or constructed interior where my work and these selected works help the space think about itself. They are not there to be compared directly, but to create a mental and emotional architecture around the exhibition, where influence is felt spatially and atmospherically rather than spoon-fed didactically.

Does showing your work in a major Milan institution like this change the story of the scrap metal and found objects you use?
Found or scavenged materials automatically carry a previous life, a previous function, and when they enter a gallery they enter another economy of value and meaning. I’ve always been interested in that shift. The same object can move from something discarded to something preserved, and that transition says a lot about how value gets assigned in general.

"If people take anything away from it, I hope it’s the idea that inheritance is not passive. It’s something you build and edit and reinterpret over time."

Since the show is about inheritance and passing things down, what do you hope people take away from the archive you have built here?

I was thinking about inheritance not just in terms of objects but in terms of knowledge, references, and ways of seeing. For me, there’s this larger question about what it means to inherit culture when your relationship to history feels fragmented or partially erased. A lot of my work is about trying to build a visual language that feels like it belongs to my generation and my background, but that also acknowledges what came before. So the archive in this exhibition is not really an archive in the traditional sense. It’s more like a personal index of influences, materials, and images that have shaped the way I think and feel. If people take anything away from it, I hope it’s the idea that inheritance is not passive. It’s something you build and edit and reinterpret over time. I love many form of artistic expression doesn’t resonate with me amongst my initial encounter but eventually finds a way to grab hold of my interests upon further examinations over years of re- encounters.

Beyond this show, what projects are you working on currently?
Right now I’m working across a few different directions. I’m continuing to develop sculptural work and exhibition projects, but I’m also spending more time thinking about film and architecture as longer-term projects. Film interests me because it allows you to build a complete world and control the emotional pacing in a very precise way. Architecture interests me because it operates at the scale of daily life and community.

In the long term, I’m interested in how these different disciplines can come together—object making, exhibition making, film, and architecture—as different ways of shaping how people move through space and how they understand their environment. Sculpture is just one part of that larger conversation for me right now.

Fondazione ICA Milano
Via Orobia, 26, 20139
Milano MI, Italy

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