The first posthumous show to have access to the all the work of the influential American photographer Peter Hujar, Eyes Open in the Dark focuses on Hujar’s later work.

_{Peter Hujar, Paul Thek, Florida, 1957}

Known for photographing his subjects with great sensitivity and psychological depth, Peter Hujar is recognised as one of the most important American photographers working in the last century.

He was also a major figure in New York City’s downtown arts and Avant Garde cultural scene in the 1970s and early 80s which he documented in his work.

_{Peter Hujar, Stephen Varble (III), Soho, New York, 1976}

For the show, Raven Row is working closely with the artist’s estate and is alongside well-known images includes less familiar work which has been selected and prepared by, his close friend, the artist and master printer Gary Schneider, as well as the writer and Hujar biographer John Douglas Millar, and Raven Row’s director, Alex Sainsbury.

_{Peter Hujar, Canal Street Pier, 1983}

Hujar’s mature work “processes his influences into a fully achieved and devastating personal style” and its darkening tone which entered his photographer in the 1980s as the AIDS crisis devastated his community.

_{Peter Hujar, Ethyl Eichelberger (II), 1981}

 Hujar died of AIDS-related pneumonia in 1987 when he was 53.

by Caroline Simpson

^{All images courtesy of The Peter Hujar Archive / ARS, New York and Pace Gallery, © Peter Hujar Archive, LLC}

_{Raven Row, 56 Artillery Lane, London E1 7LS}

The post Peter Hujar show to open at Raven Row, London in January first appeared on The Glass Magazine.

Undoubtedly considered one of the most celebrated jewellery houses in the world, turn the page of your favourite magazine and a glossy ad displaying signature pieces such as the Panther ring or Love bracelet will glisten back at you.

From the brand’s humble beginning in 1847 when Louis-François Cartier took over the workshop of Adolphe Picard in Paris inaugurating Maison Cartier, to the emergence of the brand in Parisian high society, to today where the brand is globally renowned, Cartier’s trajectory continues to break luxury jewellery moulds. 

_{Tiara, Cartier London, 1937. Aquamarine, diamonds and platinum. Vincent Wulveryck, Collection Cartier © Cartier.}

The V&A’s new exhibition, simply titled Cartier, traces the distinguished heritage of this iconic watch and jewellery brand from the turn of the 20th century to the present. 

Divided into three main sections that chart design, craftsmanship, materials, as well as the brand’s cultural references, before culminating in a glistening array of tiaras, Cartier will boast an impressive 350-plus objects.

Standout pieces include the Williamson Diamond brooch; a floral brooch encrusted with diamonds of different cuts (brilliants, baguettes, and marquises) and centred by a rare 23.6-carat pink Williamson diamond that was commissioned by Queen Elizabeth II in 1953, and worn part of her Silver Jubilee festivities, will step out of the archives.

Also on display, is the Scroll Tiara worn by Queen Elizabeth II for her coronation in 1953 and then later styled by none other than pop star Rihanna for the cover of W magazine in 2016.  

Exhibition curators Helen Molesworth (Senior Jewellery Curator at the V&A) and Rachel Garrahan (Project Curator at the V&A and Jewellery Director) enthuse “this exhibition will explore how Louis, Pierre and Jacques Cartier, together with their father Alfred, adopted a strategy of original design, exceptional craftsmanship and international expansion that transformed the Parisian family jeweller into a household name.” From royal commissions to celebrity clients, Cartier delves into the shining heritage of the watches and jewellery makers. 

Cartier will take over The Sainsbury Gallery, a temporary exhibition space housed underneath the V&A’s famous welcome courtyard, an expansive, moody gallery lit by the jagged skylights that will make a dramatic addition to the coveted Cartier exhibition.

by Ella Mansell

_{Cartier will run at The Sainsbury Gallery, V&A from 12 April to 16 November 2025.}

_{Tickets are available at vam.ac.uk/exhibitions/cartier}

The post V&A to open UK’s first major Cartier exhibition in over 30 years next Spring first appeared on The Glass Magazine.

Launched in Berlin last April and now landed at La Scala, the Puccini exhibition showcases an array of never-seen-before documents.

From displaying the Archivio Storico Ricordi, which are the unpublished sketches from the final duet of Turandot that were with the composer in Brussels before his death to create an animation that sees AI recreate the sets of his unfinished opera according to the composer’s original intentions, the show uncovers an array of new highlights. 

To mark the centenary of Giacomo Puccini’s death, last April, Bertelsmann and Archivio Storico Ricordi premiered Opera Meets New Media – Puccini, Ricordi and the Rise of the Modern Entertainment Industry, a multimedia exhibition on the composer and the interaction between opera and the media of the time. 

_{Giacomo Puccini. Photograph: Archivio Storico Ricordi}

The exhibition is displayed at the Museo Teatrale alla Scala until 12 January 2025, curated by the scientific director of the Archivio Storico Ricordi, Gabriele Dotto, and musicologists Christy Thomas Adams and Ellen Lockhart, who joined forces to unfold a pivotal turning point in the world of opera and the cultural industries. 

Thanks to the vast heritage of the archive, the most rounded musical collection of the Maestro, the exhibits and installations describe the challenges of the new media of the time on copyright, and the construction of the Puccini ‘brand’ and the composer’s transoceanic journeys to promote his works.

_{Puccini – Opera Meets New Media | Photograph: Archivio Storico Ricordi}

For curator Gabriele Dotto, they represent one of the most surprising contents of the exhibition: “They have never been shown in public before, which in itself makes them special,” he says, explaining how “they are captivating on several levels because music scholars will be intrigued by their unfathomable complexity.

“For La Scala, the Puccini centenary is the continuation of a path taken over the years with the presentation of the composer’s works in new productions directed by Riccardo Chailly,” opines Dominique Meyer, superintendent and artistic director of the Teatro alla Scala.

“Maestro Chailly will also conduct an extraordinary concert with Anna Netrebko and Jonas Kaufmann on November 29th, the exact day of the centenary of his death”.

_{Puccini – Opera Meets New Media | Photograph: Archivio Storico Ricordi}

_{Puccini – Opera Meets New Media | Photograph: Archivio Storico Ricordi}

Donatella Brunazzi, director of the Museum, explains how in recent years the commitment of the Museo Teatrale alla Scala has been aimed at presenting the immense heritage of melodrama from new points of view.

“This new Puccini event is an opportunity to reaffirm a cultural line that exudes openness to innovation and to continue the natural relationship between the Teatro alla Scala and Ricordi, in the very premises that once housed the publishing house”.

by Chidozie Obasi

The post New exhibition dedicated to Giacomo Puccini shines a light on the composer’s legacy first appeared on The Glass Magazine.

The exhibit will run from 11 October 2024 to 2 March 2025. The gallery will endure a haven-like transformation into an immersive “funk garden,” omitting the light of South Central Los Angeles and bringing it to Kensington Gardens.

Halsey is most known for her vivacious and maximalist installations, she has developed a unique visual language rooted in the material culture of her South Central neighbourhood. Over the past decade, she has meticulously archived and redone the signs, slogans, and symbols from her community, taking profound inspiration from local businesses, street activism, and urban settings.

Halsey’s work melds history with the present and the future. Doing so by intrinsically exploring the rich iconography of African diasporic cultures, ancient Egypt, and funk’s opulent and sonic visual aesthetics.
At the very heart of Halsey’s practice is the honouring of her community’s resilience.

As she explained, “I’m obsessed with material culture. My work is about documenting and remixing the ever-changing landscape of my neighbourhood and celebrating the stories of the people who live there”.

Her site-specific installation for the Serpentine, emajendat, hones aspects of her previous large-scale projects, including the 2023 Metropolitan Museum of Art’s Roof Garden Commission and her 2024 Venice Biennale exhibition, Keepers of the Krown.

_{Lauren Halsey, land of the sunshine wherever we go II (detail), 2021, white cement, wood, and mixed media, 82 1/2 x 79 x 77 in. (209.6 x 200.7 x 195.6 cm). Courtesy Lauren Halsey.}

These projects amalgamate Halsey’s architectural vision, often by incorporating motifs from ancient Egypt and reinterpreting them through a contemporary, community-driven window. Her ultimate goal? To create a public sculpture park in South Central Los Angeles.

In emajendat, visitors will be entering a psychedelic realm that will comprise both natural and urban elements. The gallery will be adorned with technicolored sand dunes, mirrored walls, and scaled-up recreations of figurines sourced from South Central swap meets. Plants, a live water feature, and sculptures decorated with heavily stylised nails will further set the mood of the space.

Serpentine CEO Bettina Korek describes this ethereal environment as “a celebratory and creative form of resistance to the gentrification of her neighbourhood.”

Serpentine Artistic Director Hans Ulrich Obrist brings forth the vital convergence of London-Los Angeles, saying, “This exhibition brings to life Serpentine’s mission of building artistic bridges, offering Londoners a unique perspective on South Central LA’s visual culture.”

The show will also coincide with the release of a comprehensive publication by Rizzoli, designed by the late Virgil Abloh’s design studio, ALASKA ALASKA. The book will be featuring the contributions from celebrated artists and thinkers such as George Clinton, Harmony Holiday, and poet Will Alexander.
The exhibit has been curated by Lizzie Carey-Thomas and Chris Bayley and vows to be a memorable experience for London audiences, illuminating the new future of art.

by Alia Campos

_{Serpentine Galleries, Kensington Gardens, London W2 3XA}

The post Lauren Halsey transforms the Serpentine Gallery into a funk-filled oasis first appeared on The Glass Magazine.

This comprehensive exhibition marks a significant moment in the international art scene, showcasing over 100 works from Yang’s faceted career; including three new striking commissions. Known for her inventive and spellbinding style, Yang will transform the gallery into a captivating sensory realm inviting visitors to experience her art in an intimate and profound way. 

_{Haegue Yang, Series of Vulnerable Arrangements – Seven Basel Lights, 2007, Installation view at Hamburger Kunsthalle, Hamburg, 2008. © Haegue Yang. Photo: Kay Riechers. Courtesy of Hamburger Kunsthalle, Hamburg.}

Upon entering, guests will walk through a curtain of stainless-steel bells, part of Yang’s ongoing Sonic Sculptures series, creating an evocative auditory and visual prelude. This entrance sets the stage for a journey through Yang’s 20-year career which spans installation, sculpture, collage, video, and sound. Her work is renowned for reimagining everyday domestic and industrial items—like drying racks and light bulbs—into striking pieces that reflect on folk traditions, political histories, and personal experiences.

The exhibition is organised into five thematic zones and includes several newly commissioned pieces, each designed to engage multiple senses.

Notably, the show features Sonic Droplets in Gradation – Water Veil (2024), an installation where visitors navigate through a curtain of blue and silver bells, setting the tone for an immersive experience that bridges East Asian traditions and contemporary art.

_{Installation view, Latent Dwelling, Kukje Gallery Hanok, Seoul, 2023. © Haegue Yang. Photo: Chunho An. Courtesy of Kukje Gallery.}

The exhibition’s highlight is a large-scale Venetian blind installation, Star-Crossed Rendezvous after Yun (2024). Inspired by Korean dissident and composer Isang Yun, this work is made from ascending layers of Venetian blinds in various formations and colours, combined with breathing stage lights and a moving musical score. This piece exemplifies Yang’s ability to meld historical and personal influences into a visually and sonically stimulating environment.

_{Haegue Yang, Red Broken Mountainous Labyrinth, 2008, in In the Cone of Uncertainty, The Bass Museum of Art, Miami Beach, 2019. © Haegue Yang. Photo: Zachary Balber. Courtesy The Bass Museum of Art, Miami Beach.}

Leap Year also revisits Sadong 30 (2006) – a seminal project first shown in Yang’s native South Korea. This reimagining reflects on domesticity and intimacy, themes that pervade Yang’s practice, along with her exploration of materials like mulberry paper and the dynamic interplay between spirituality and physicality.

_{Installation view, The Open World, Thailand Biennale, Chiang Rai, 2023. © Haegue Yang. Photo: Wanchai Phutthawarin. Courtesy of Thailand Biennale 2023, Chiang Rai.}

Curated by Yung Ma with assistance from Suzanna Petot and Charlotte Dos Santos, Leap Year promises to offer a deeply sensitive and engaging experience, aligning with the Hayward Gallery’s mission to champion transformative artistic voices. Supported by major foundations, including the Samsung Foundation of Culture, this exhibition will also tour other European venues in 2025.

As Yang herself reflects, “Art making is like weaving a complex fabric, while exhibition making tailors it into something wearable. For this show, I sought to reveal the hidden dimensions of my practice, akin to a rare leap year.”

by Alia Campos

_{Hayward Gallery, Southbank Centre, Belvedere Rd, London SE1 8XX}

The post Haegue Yang’s Leap Year exhibition set to open at Hayward Gallery first appeared on The Glass Magazine.

This is Goldin’s first exhibition of new work since she joined Gagosian last year.

_{Gravestone in pet cemetery, Lisbon, 1998. Archival pigment print 41 x 61 inches (104 x 154.8 cm)
Edition of 3 + 2APs © Nan Goldin. Courtesy the artist and Gagosian}

You never did anything wrong, Part 1 (2024) is Goldin’s first abstract work. This is inspired by the myth that eclipses are caused by animals stealing the sun. Filmed in Super 8 and 16mm, You never did anything wrong, Part 1 takes the form of a home movie focused around the “totality of the solar eclipse”. The accompanying soundtrack includes music by Valerij Fedorenko, Mica Levi, as well as the ambient sounds of nature recorded during the eclipse.

_{Holy sheep, Rathmullen, Ireland, 2002. Archival pigment print 41 x 61 inches (104 x 154.8 cm)Edition of 3 + 2APs © Nan Goldin. Courtesy the artist and Gagosian}

The other moving-image work, Stendhal Syndrome (2024), contrasts photographs Goldin has taken over the last 20 years of classical, renaissance and baroque masterpieces with imagery she has made of her community of friends, family and lovers.

_{Orpheus Dying, 2024 Archival pigment print 24 x 64 3/4 inches (60.8 x 164.5 cm) Edition of 3 + 2APs © Nan Goldin. Courtesy the artist and Gagosian}

_{Hermaphroditus, 2024. Archival pigment print 34 x 49 7/8 inches (86.2 x 126.5 cm) Edition of 3 + 2APs © Nan Goldin. Courtesy the artist and Gagosian}

Photographs of paintings and sculptures from museums around the world – including the Louvre, Galleria Borghese, the Metropolitan Museum of Art and the Prado – are juxtaposed with Goldin’s own images which creates an artistic resonance that seems to reveal universal emotional truths as well as formal similarities. These take the form of the grid images that Goldin has explored over the past 30 years.

_{Kiss 2, 2024 Archival pigment print 34 x 44 3/4 inches (86.2 x 113.7 cm) Edition of 3 + 2APs © Nan Goldin. Courtesy the artist and Gagosian}

_{The eyes, 2024 (detail). Archival pigment print 53 7/8 x 77 7/8 inches (136.8 x 197.8 cm)
Edition of 3 + 2APs © Nan Goldin. Courtesy the artist and Gagosian}

The moving-image works are presented in specially designed pavilions by Goldin working with Lebanese-French architect Hala Wardé. The design of each structure echoes the film it is showing inside. This creates a Gesamtkunstwerk something that unifies architecture, image, and sound.

by Caroline Simpson

_{You never did anything wrong opens on September 12, Gagosian, 522 West 21st Street, New York}

The post Nan Goldin new work opens at Gagosian, New York first appeared on The Glass Magazine.

_{L’Or de Dior © Boris Shiu @AGENTPAY}

_{L’Or de Dior © Boris Shiu @AGENTPAY}

As an ode to the colour, power and luxury of the precious metal, as well as uncovering its deep rooted importance in the history of the House, the retrospective highlights its position as a continued motif across fashion and beauty.

Beginning its journey with founder Christian Dior and then tracing how his successors have utilised it, gold has not only been upheld by them but is also further punctuated in the adjoining scenery of the show.

_{L’Or de Dior © Boris Shiu @AGENTPAY}

_{L’Or de Dior © Boris Shiu @AGENTPAY}

From watching the evolution of the brand’s J’adore fragrance that is centred around gold, to discovering how its lent itself to silhouettes and reinterpretations of accessories like the Lady Dior handbag, the continual metamorphosis that Dior has been able to maintain over the years is credit to its position as a luxury frontier.

Moreover, the exhibition comes at the time of the 60th anniversary of diplomatic relations between France and China, adding to the celebrations of this relationship and reinforcing the link between Dior and the country.

by Imogen Clark

_{WCF6+J2F, Wusidajie, Dongcheng, Beijing, China, 100006}

The post L’Or de Dior exhibition lands at the Guardian Art Centre, Beijing first appeared on The Glass Magazine.

_{Café de La Galerie}

The exhibition began on the 24th of July and will run until the 9th of September 2024. A display of various photographs symbolic of the values required to take part in the event presents a mindset of audacity, excellence and creativity — themes significant in the worlds of both sports and couture. 

_{Café de La Galerie}

With pictures taken by Alessandro Garofalo, Café de La Galerie sees various imagery adorning its walls, further adding to the interior’s artistic flair, celebratory of the French art of life. 

Dior submerges into the realm of sport with images depicting athletes sporting Dior clothes and accessories.

_{Café de La Galerie}

Demonstrating their respective talents, the brand’s ambassador athletes model props such as tennis rackets, fencing swords, bicycles and skateboards amidst mannequins and measuring tapes.

The images are poetic, animated and motivating, paying homage to perseverance and self-belief and further inviting observers to chase after their dreams.

by Nicole Pereira

The post Dior celebrates the Olympic Games with an exhibition at Café de La Galerie first appeared on The Glass Magazine.

The exhibition Antonio Canova and Neoclassicism in Lucca confronts the practice of two fundamental artists: Pompeo Batoni and Antonio Canova. The dialogue between the revered sculptures of Canova and the paintings of the Lucchese League of creatives highlight a common feeling: the Roman experience and that of the Lucchese Bernardino Nocchi. 

The exhibition route starts in a timeline with the famous Pompeo Batoni, whose several masterpieces including Portrait of Abbondio Rezzonico, Senator of Rome, from the National Galleries of Ancient Art and an extraordinary pair of paintings recently acquired by the Fondazione Cassa di Risparmio di Lucca.

_{Antonio Canova and Neoclassicism at Cavallerizza di Piazzale Verdi}

Another Lucchese, less known than his fellow citizen, but whom this exhibition intends to bring to light by gathering a substantial spectrum of works is Bernardino Nocchi. Famed for his approach to neoclassical innovations thanks to his friendship with Antonio Canova, an artist whose sculptures were translated into painting and drawing, as noticeable in those of Alexandrine de Bleschamps as Tersicore displayed alongside Canova’s sculpture of the same name. 

_{Antonio Canova and Neoclassicism at Cavallerizza di Piazzale Verdi}

Also present in the exhibit is Nocchi’s talented pupil Stefano Tofanelli, who portrays himself as the master in the remarkable painting from the Museum of Rome: Self-portrait with his brother Agostino, his father and Bernardino Nocchi. 

Antonio Canova is a universal icon of the new classicism and, by making decisive technical and intellectual experiences, he became the greatest exponent of an art, sculpture, to which Neoclassicism restored the primacy already exercised at the dawn of the Renaissance. 

_{Antonio Canova and Neoclassicism at Cavallerizza di Piazzale Verdi}

In his creative process, an outstanding significance is given by the life-size plaster models that constitute the moment of transition between an initial ideational phase and the actual realization of the marble sculpture. The plaster is, in the artist’s act of conception, the fragile and variable moment of feeling in the body of the sculpture. It is the most intimate and authentic of his artistic creation. 

On display, one can find numerous works including paintings and the most significant sculptures from the Museo Gipsoteca Antonio Canova in Possagno, where the important evidence of the great master’s artistic production is preserved. 

_{Antonio Canova and Neoclassicism at Cavallerizza di Piazzale Verdi}

Presented in Lucca, for the first time there are twelve exclusive sculptures by Antonio Canova: they lead some of the major masterpieces birthed by the artist, such as the Hebe, the Tersicore, the Venus Italica, or the Paolina Borghese as Venus Victrix, and these are, in most cases, casts taken from the finished sculptures, with the exception of the Paris and of the Beatrice which are instead the models for the execution of the marble versions.

They are the only ones with the so-called repère (those small studs used by the rough-hewn sculptors in Canova’s studio as transport points from the plaster to the marble block). The collection, after this first landing in Lucca, thanks to the contribution and project of Banca Ifis, will be able to represent Canova in the world.

by Chidozie Obasi

The post Cavallerizza di Piazzale Verdi to host exhibition of revered artist Antonio Canova first appeared on The Glass Magazine.

Now, having further developed his curational work, Inagawa has just opened a new exciting exhibition at the Art Gallery Miyauchi, located in the heart of Hatsukaichishi. Titled Nurturing Nodes in the Nook of an Odd Sock, the latest showcase gathers the work of 19 distinct, trailblazing artists from across the globe.

Fusing paintings, murals, sculptures and more with tangling structural environments, the gallery space has been playfully transformed into a breathing biome of experimentation and individuality. Artworks weave and entwine in an eclectic display of fearlessness and fervour – traits intrinsic to Yutaka’s own artistic approach.

Showcasing work from Yu Araki, Bouie Choi, Anthony Chin, Kara Chin, Gary Clough, Taro Izumi, Rikako Kawauchi and many more, Inagawa’s careful creative storytelling imbues fresh meaning and contexts into each featured piece.

Reflecting upon the exhibition, Glass speaks to Inagawa about his thought process, the importance of artist intent, fluidity and ambiguity and the introduction of emerging technologies against the artistic cultural milieu.

Your new exhibition is undeniably playful and experimental. What is the inspiration behind the exhibition name ‘Nurturing Nodes in the Nook of an Odd Sock’?

The inspiration for “Nurturing Nodes in the Nook of an Odd Sock” stems from the 2023 “Big Motor Incident” in Japan, where golf balls were stuffed into socks to damage car bodies for insurance fraud. While this act highlights social distortions, I was intrigued by interpreting it through a creative lens. Viewing the act of deforming a car’s metal surface with “a golf ball in an odd sock,” one can see it as an unconventional form of creativity, detached from its original, nefarious context.

Additionally, the relationship between an artist’s intention or narratives and their artwork can be likened to a pair of socks. Artwork embodies the artist’s intentions, narratives, positioning, and identities within a complex cultural landscape. Even if a part of the “artist intention” is missing, its existence is always implied because the official “paired socks” have been published out there.

How did you select the 19 artists for this particular exhibition?

Primarily, I based my selection on the quality of their artwork and their personal qualities. Personal encounters, whether through other exhibitions, collaborative projects, or introductions by trusted friends, also played a significant role.

The invitation I sent to these artists was bold and could be seen as offensive or nonsensical. However, it was also an invitation to embrace the uncertainty and risk involved in this experimental exhibition. They knew there was a chance their artwork could be jeopardized by my interventions.

I also paid careful attention to the diversity of the artists, considering their varied backgrounds and the types of art practices, some of which were challenging to imagine fitting within the curatorial architecture I proposed.

Can you talk us through your process in creating the artworks’ bespoke environments? Did the architectural space make certain curatorial decisions easier?

I began by using digital photographs of the gallery spaces, provided by Art Gallery Miyauchi, to conceptualize various bespoke environments. The limitations of these photographs helped me generate multiple variations by responding directly to the imagery. Using Photoshop, I placed images of the artworks and made sketches with digital drawing and photo montage techniques.

To finalize the environment, I needed to be in the actual space, experiencing its architectural characteristics with all the artworks and physical elements present.

Was it difficult to have some artists approve the bespoke environments?

When I explained the curatorial framework and related conditions, I informed the artists that I wouldn’t share any progress or plans in advance. This is partly because my creative process is nonlinear and spontaneous. I continuously change plans, and the setup phase is also a creative session for me.

What is the greatest challenge of curating projects in a non-conventional space?

The greatest challenge lies in shifting our perception. The idea of a fixed template, format, or formula for creating exhibitions is often deeply internalized. In the web of interconnectedness, nothing will be perceived as standalone entities. If you move one element, other elements might also need adjustments or even new statuses, meanings, positions, or forms.

You previously curated Duddell’s Another Pair of Eyes in 2019. How do you think your curatorial style has evolved over the years?

My curatorial style and art practice are deeply interrelated. I had three solo shows in 2022-2023—one in Singapore, one in Hong Kong, and another in Japan. Additionally, the online collaboration “Say to Day (2020)” with inspirational curator Ying Kwok was a pivotal point that impacted these solo exhibitions.

For this latest curatorial experiment, the experience I had with the admirable Hong Kong-based Singaporean collector Cindy Chua-Tay for Duddell’s Another Pair of Eyes in 2019 played a significant role. When she kindly invited me to her beautiful home in Hong Kong to see her collection, I was profoundly inspired by how meticulously she curated her space.

How do you find new artists, new ideas as a curator?

As I value a personal connection with the artists themselves, as well as their artwork and practices, how I meet them or who helps me get connected with them is quite important. Sometimes, even a brief exchange of ideas is enough to leave a significant impression.

In terms of ideas for experimental shows, I often draw inspiration from small details in news about social malfunctions, cultural deformations, political issues, individual mourning, and daily remarks on platforms like X and other social media as well as other daily encounters.

What would you say are the key themes of this exhibition?

It’s more of a demonstration or exploration of how to develop creative dialogues with polyphonic entities without simplifying their complexity or making the illogical logical. Multiple themes can be interpreted and generated by the audience/visitors.

Your own work often delves into the contrast between the real and digital realms. Now, this exhibition features Chat GPT-created avatars. What is your stance as a whole on AI art? Do you believe it to be a threat or a creative tool?

So far, the way I use AI-generated text or images is largely an extension of manipulating digital entities or materializing the idea of “the other side.” I don’t rely on or am particularly interested in AI’s ability to create a polished end result instantaneously. If AI-generated materials float without being anchored to the human side of the artist, they are probably just eye candy, nothing more. However, I must remain open and continuously update my perspective as the impact of AI increases at an unprecedented speed.

Nurturing Nodes in the Nook of an Odd Sock is on until the 30th of June 2024.

For more information, please visit here.

by Sophie Richardson

_{The artist-curator, Yutaka Inagawa, took some of the photographs, while the rest are the work of Kensuke Hashimoto. All images are displayed courtesy of Art Gallery Miyauchi.}

The post Glass speaks to curator and artist Yutaka Inagawa on his new exhibition first appeared on The Glass Magazine.

Held from 3 to 16 June 2024, Shaping Materials features a selection of timeless Audemars Piguet classics. For example, the newly released [RE]Master02 captures the brand’s ability to evolve and mature over the years.

The model is an ode to an asymmetrical watch created by Audemars Piguet in 1960 and is a limited edition of 250 pieces. Built with 18-carat sand gold alloy, the watch combines a vintage aesthetic with innovative technology.

In another one of the exhibition’s five rooms, a trio of Royal Oak mini models further demonstrate the Manufacture’s expertise and know-how. Measuring 23 mm in diameter, these mini watches reinvent the 20mm Mini Royal Oak – initially launched in 1997. Available in 18-carat yellow, white or pink gold, the Royal Oak Minis were unveiled on the 31^st of May 2024 in Milan making them one of the brand’s most sought-after pieces.

Exploring traditional horological processes and traditions, the exhibition is an unmissable journey into the world of watchmaking.

by Sophie Richardson

_{For more information and to book, please visit here.}

The post Audemars Piguet launches a new horology exhibition at Portrait Milano first appeared on The Glass Magazine.

Taking a moment to pay homage to the legacy it has forged for itself since 1906, when they first presented their first timepiece, the Maison has handpicked a collection of watches from across the decades to present to the general public.

Placing emphasis on its Poetic Complications range as it outlines their singular approach to design, fantasy and innovation, the brand will go into greater detail with these one-of-a-kind watch movements .

_{Van Cleef & Arpels Poetry of Time}

Telling visual stories with enamelling artistry and precious stones, Van Cleef & Arpel’s famed motifs of nature, astronomy, fairies and ballerinas will be seen in a new light, as guests will be given an exclusive insight into their creation.

Interactive displays and live demonstrations by artisans from Watchmaking Workshops in Geneva will be at hand to guide you through the journey of making a piece of haute horology.

_{Van Cleef & Arpels Poetry of Time}

Another special feature of this exhibition are the series of talks and workshops for children led by L’ÉCOLE School of Jewellery – an institution supported by the brand. With guest speakers opening a hidden world of horology through their presentations, Poetry of Time promises to offer more than ever before.

by Imogen Clark

_{Free admission, book your slot here.}

_{4 Cromwell Place, South Kensington, London, SW7 2JE}

The post Van Cleef & Arpels announces Poetry of Time exhibition at Cromwell Place first appeared on The Glass Magazine.