Margherita Artoni

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.

In an age saturated by images, Quentin James McCaffrey’s paintings propose a slower and a more contemplative mode of attention. Through carefully constructed interiors, architectural fragments and charged arrangements of objects, his practice investigates the relationship between perception, memory and imagination.

What does it mean to paint today? At a moment when images are produced, circulated, and consumed at unprecedented speed, painting occupies a peculiar position.

Reality is shaped by the traces we preserve, the stories we inherit, and the symbols through which we understand the world.

Ana Mendieta is usually introduced through a chain of familiar terms: exile, body, landscape, ritual, belonging.

In 2003, writing in Artforum, David Rimanelli dismissed one of the founding claims of John Currin's early reputation as a "red herring": the notion that his brushwork constitutes a genuine revival of Old Master technique, arguing that technical finesse develops in step with the artist's content rather than existing for its own sake.

Michaël Borremans paints at the moment when the image remains persuasive while its authority becomes uncertain.

With Back Again, at White Cube Bermondsey, Georg Baselitz returns once more to his own history.

The exhibition by Lisa Yuskavage at David Zwirner unfolds within a stabilized field of painterly recognition. New collages, chromatic systems, and recursive studio compositions mark a practice that has shifted from aesthetic instability toward institutional consolidation. The work now operates at the center of a system that once derived its force from friction.

Contemporary pictorial practice no longer operates within the logic of representation, but within systems of circulation in which visibility precedes experience.