The solo exhibition at Trotoar Gallery, Zagreb, reimagines the 1573 Croatian-Slovenian peasant revolt through an unsettling, surrealist lens — one that feels alarmingly close to the world outside the gallery walls.
The artist’s genius stems in part from his radical willingness to let the studio be a safe place for stupidity.
Designed by Adjaye Associates, the roughly 48,000-square-foot institution will house MOWAA’s collections and include space for storage as well as facilities for conservation, research, and archaeological endeavors.
The atmosphere is drowsy, slightly daunting.
There’s something similar in how the newly inaugurated exhibition of Ivens Machado at the Carré d’Art—Musée d’Art Contemporain in Nîmes beckons us.
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