Tomás Saraceno’s retrospective exhibition at Palazzo Strozzi gives a closer look at the lives and creations of spiders to reveal how completely ecologies are entangled and spaces are shared with our nonhuman companions.
After the pandemic pushed back their exhibition, two curators teamed up to develop The Botanical Mind Online a new platform that makes effective use of parallels between plant communication and the internet.
Deliberately unsubtle, the central message of Vasconcelos’s work challenges the snobbery of the art world and champions the inclusion of women and outsiders.
Depictions of Living imagines itself as an act of protest, touching on both the microcosm of individual actions and the macrocosm of the Anthropocene.
Joy Labinjo’s intimate family portraits are based on her archive of photographs, as well as Instagram and Flickr, straddling online and offline worlds and forging links between past and present.
An exhibition at the Royal Academy suggests that technology is our main hope for a better future, generally ignoring the current discourse around natural climate solutions.
Now on view at Art Basel Miami Beach, sound artist Jana Winderen’s The Art of Listening: Under Water draws listeners’ attention to the rich sonic landscapes of nature — and highlights how human activity might affect them.
The power of her work comes from its suggestion that specificity and universality, when it comes to identity and experience, are not mutually exclusive concepts, but often exist side by side.
Holly Hendry’s works offer an innovative view on the repurposing of materials in art, exploring how things usually considered to be trash can be recycled.
This exhibition, Antony Gormley returns repeatedly to the motif of the artist’s own body to explore the significance of differences in scale and the negative space around an artwork.
The curators of Olafur Eliasson: In Real Life have highlighted the the open-endedness of his practice by allowing the exhibition to spill out over the boundaries of the ticketed space into corridors, the terrace outside, and other places.
Artistic allusions to rising waters can be found across the Venice Biennale this year, and they strike home with a particular power given the ongoing destruction of the natural world.