
Dawn, sacred source and gold as the memory of time. François Halard presents here a carte blanche for TLmag37: State of Gold, featuring polaroids that tell us about his personal journey.
Dawn, sacred source and gold as the memory of time. François Halard presents here a carte blanche for TLmag37: State of Gold, featuring polaroids that tell us about his personal journey.
Groeningemuseum presents the solo exhibition ‘Lemon Drizzle’ by Belgian artist Sanam Khatibi, showcasing works that illustrate an exotic, sumptuously detailed world.
The show Equilibrium, currently on show at valerie_traan gallery, explores the dreamy and poetic work and practice of Babs Decruyenaere.
Xavier Hufkens presents Tracey Emin’s new exhibition with the gallery, Detail of Love which explores love, loss and longing through different mediums.
Recently Galerie Nathalie Obadia presented Miss Rankin by Benoît Maire’s, whose practice is at the crossroads between philosophy and art.
New York based curator and writer Glenn Adamson navigates through the decades-long practice of Belgian ceramicist Piet Stockmans in his latest essay as part of TLmag 33 print edition: The New Age of Humanism.
Romane Sarfati, CEO of Sèvres – Cité de la Céramique, sits down with TLmag to share her vision for the centuries-old cultural institution and the future of porcelain.
Spread over the gallery’s three spaces, the forthcoming exhibition “Ma Normandie” at Galerie Lelong & Co. in Paris presents different work by David Hockney.
Before Kandinsky, Malevich and Mondrian, there was Hilma af Klint. After a breakout exhibition of her work in their Stockholm museum back in 2013, Malmö’s Moderna Musseet revisits the Swedish artist’s oeuvre to present new insights into af Klimt’s systematic research.
Since late last year, TLmag and Formafantasma have been working together to create our latest Spring/Summer print-edition. A lot has changed between now and then, but one thing is sure: we are entering a new era of looking at and making for the world around us.
Greek artist Athina Ioannou maximizes and reinterprets painting through minimal and economic means. Her sensuous ‘abstract’ painting – what she refers to as ‘plus-painting’ – arises from the ‘intensification’ of ready-made carriers through the patient all-over saturation of her work with linseed oil.