Margherita Artoni

Nathanaëlle Herbelin’s paintings begin with the intimacy of everyday life: domestic interiors, bodies, relationships and moments that might otherwise remain unnoticed.

Henni Alftan (b. 1979, Helsinki) is a Paris-based painter whose work examines the relationship between painting and the image. Drawing from fragments of everyday experience, she constructs tightly framed scenes in which figures, objects and gestures acquire an intensity that exceeds their apparent simplicity.

What does it mean to paint the everyday when the everyday has already become art
history? In Prose, Louis Fratino’s first solo exhibition with David Zwirner in London, the
answer might seem straightforward: to take life as it is—rooms, bodies, sex, friends, family, subway cars, cafés, saunas—and return it to painting.

In an age saturated by images, Marina Perez Simão’s paintings return to a slower and more attentive mode of seeing. Working across painting, watercolour, textiles and drawing, she develops a practice rooted in accumulation, intuition and the gradual emergence of images from experience.

In his paintings, Shaqúelle Whyte constructs imagined spaces charged with ambiguity, exploring the human condition through expressive brushwork, loosely rendered figures, and expansive compositions. His scenes hover between recognition and invention, creating worlds whose logic remains deliberately elusive.

Sedrick Chisom’s practice explores painting as a space where history, mythology, speculative imagination and visual memory converge.

Maurizio Cattelan returns to Berlin twenty years after co-curating the 4th Berlin Biennale. His return raises a question that has become increasingly difficult for his work to evade: what remains of irony once transgression has been fully absorbed by the institutions and markets it once unsettled?

In an age saturated by images, GaHee Park’s paintings create an intimate and psychologically charged visual world. Her interiors, figures and arrangements of everyday objects occupy an ambiguous territory between recognition and estrangement, where domestic life becomes a stage for fantasy, memory and inner experience.

Cassi Namoda (b. 1988, Maputo, Mozambique) is a painter and performance artist whose work interweaves personal memory, cultural history and invention.

In an age saturated by images, Ali Banisadr’s paintings reaffirm the transformative potential of painting as a space of memory, imagination, and continuous becoming.