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Huile sur toile | Oil on canvas. 219 × 119 cm (86 ¼ × 46 ⅞ inches)
Courtesy the Artist and Art : Concept, Paris. Photo Romain Darnaud
In Miryam Haddad’s painting, the multiplicity of sensory interactions unsettles us and offers no promise of comfort. We hallucinate—this almost troubling materiality tested by figures that haunt it, these resemblances altered by gestures that write across the surface without spelling it out. The conflicts of the real world, and those that live within us, rise again on the ground of painting. It pulls us free from the automatisms of memory and emotion, eyes wide open. A war rages against me and within me… Stranger.
Excerpt from the press release by Marie Muracciole
Already in its title, “Carrying” points to how places carry certain (hi)stories. This exhibition project with its accompanying events activates various spaces inside and outside Museum Brandhorst. International artists, including Cana Bilir-Meier, Kate Newby, Tiffany Sia, Jaune Quick-to-See Smith, and Leyla Yenirce, occupy historically charged sites—such as Cy Twombly’s “Lepanto” room or the “Türkentor” (Turks’ Gate). Architectural interventions, performances, and paintings, as well as sound and filmic works, engage with the museum and explore the entanglement of military and cultural power.
In partnership with the Port of Portland, the Regional Arts & Culture Council (RACC) has selected artists Dyani White Hawk and Kate Newby to create two large-scale public artworks for Portland International Airport (PDX). The works are expected to be installed in late 2025 and unveiled in 2026. They were chosen through a competitive process led by the PDX Terminal Core Redevelopment (TCORE) Public Art Committee from more than 110 applicants nationwide.
The renovation of PDX’s main terminal aims to increase capacity and flexibility while enhancing the traveler experience and incorporating more art. Each artwork will span over 50 feet and be installed along the north and south exit routes where greeters wait after security. Beyond helping with wayfinding, the pieces will offer a powerful and welcoming visual experience for both visitors and locals.
According to Kristin Law Calhoun of RACC, the selection reflects a commitment to impactful public art connected to the region’s landscapes, history, and communities, creating lasting landmarks that define the PDX experience.
The Presentation stands as an exploration of beauty as a force of provocation, reflection and transformation. The title draws from a line by American songwriter and political activist Phil Ochs, whose songs became protest anthems of the 1960s: “In such ugly times, the only true protest is beauty”. Here, the concept of beauty is not understood as mere prettiness, but as a moment of intensity: a charged encounter, an unexpected harmony, or a subtle disturbance capable of unsettling, awakening, and creating space for the new.
Curated by Dries Van Noten with Geert Bruloot, the Presentation explores craftsmanship as a language of expression and a conduit for emotion. It moves beyond conventional disciplinary borders, gathering fashion, jewellery, art, collectible design, photography, glass, ceramics, and material experimentation within a shared investigation of beauty’s ability to question norms and disrupt dogma. The Presentation unfolds as a constellation of encounters, where established and emerging talents meet in ever‐shifting dialogue. Spanning the ground floor and the first and second Piano Nobile levels of Palazzo Pisani Moretta, it spreads across a sequence of 20 intuitively composed rooms. Here, more than 200 works enter into conversation with the architecture, history, and decorative language of the Palazzo, shaping a narrative guided by instinct rather than rigid logic.
Selected pieces from established fashion houses’ archives are presented together with contemporary textile pieces, underscoring an enduring role as medium of cultural expression and affirming its capacity to generate critical and poetic statements. Collectible art and design
objects coexist with experimental works – by both independent creatives and artists represented by internationally renowned galleries – together forging new directions in sensorial storytelling and material exploration. Moreover, Traditional craftsmanship is showcased alongside innovative international voices, reflecting the Fondazione’s commitment to both safeguarding heritage and nurturing new talents and views. Collectively, these artifacts articulate the Fondazione’s mission: to honor the human dimension of making and the narratives embedded within each object.
Group show
Huile sur toile / Oil on canvas. 61 × 50 cm (24 × 19 ⅝ inches)
© Nina Childress, adagp 2026
Courtesy the Artist and Art : Concept, Paris
Collection du Musée d’Art Moderne de Paris, France
After “Treasures in Black and White,” the Petit Palais presents a new exhibition dedicated to the artist’s portrait and self-portrait. Bringing together a wide selection of 19th-century works — paintings, sculptures, photographs, works on paper, and decorative arts — the museum revisits its masterpieces while unveiling rarely seen pieces.
In dialogue with the collection, ten contemporary women artists working in Paris explore the genre of portraiture between tradition and modernity, each affirming in her own way: “I am my work.”