Nona Inescu and Oláh Gyárfás at Art Encounters Foundation
Gabrielle Goliath’s Defiant Act of Mourning in Venice.
Reimagining Relations in a More-Than-Human World.
Materiality in the Paintings of Alexander Aburanem
The Long-Awaited Reopening of Warsaw's Poster Museum
The Geography of Absence.
In Conversation with Małgorzata Grąbczewska and Natalia Barbarska
Why Great Art Refuses Repetition.
Ana Maria Szőllősi’s ‘Ménière’ at Kunsthalle Bega
When the Italian architect Marino Zancanella visited Poznań in 2024, his meticulous observations of the city’s local Renaissance architecture — most notably the structural geometry, rhythmic arches, and humanistic proportions of the Town Hall designed by the classic master Giovanni Battista di Quadro — did not merely result in a localised aesthetic appreciation or a transient exchange of professional courtesy.
There is a shared question running through the practices of Nona Inescu and Oláh Gyárfás: what happens to things after they lose their original function? A stone after it stops being perceived as landscape, a plant after it stops being decoration, a textile after it is no longer a tool, a body after it becomes a trace.
In a Venice Biennale season shaped by national spectacle, institutional diplomacy, and cultural branding, South African artist Gabrielle Goliath has presented something far quieter and far more unsettling.
