Sho Shibuya, Falling from the Sky, Unit, London | image courtesy Unit<\/p>\n<\/p>\n<\/div>\n<\/div><\/div>\n
\t\t<\/p>\n
\u00a0<\/p>\n
Rocking to Infinity<\/h2>\n
\u00a0<\/p>\n
Kukje Gallery will present Louise Bourgeois<\/strong><\/a>: Rocking to Infinity, focusing on the final two decades of the artist\u2019s career. The exhibition gathers sculptures, drawings, and fabric suites that meditate on intimacy, memory, and time. The title, drawn from Bourgeois\u2019s own writing, evokes the image of a mother rocking a child to sleep. This gesture of security and tenderness resonates throughout the works on view.<\/p>\n \u00a0<\/p>\n Immersive wall installations pair gouaches and watercolors that revisit themes of the self, the couple, family, and the spiral. The gallery\u2019s center hosts major sculptures which explore emotional bonds and the passage of time. The Hanok space introduces a rarer body of drawings on coffee filters, made in 1994, where circular compositions bridge domestic material with reflections on cycles, abstraction, and organic form. All together, the works reveal Bourgeois\u2019s late practice as both intimate and monumental.<\/p>\n \u00a0<\/p>\n name:<\/strong> Rocking to Infinity<\/a> installation view, Louise Bourgeois: Rocking to Infinity, image courtesy Kukje Gallery<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n Gabriel Chaile\u2019s debut New York solo exhibition, Esto es Am\u00e9rica, o qual \u00e9 o limite?, presents new adobe sculptures created on site at Marianne Boesky Gallery, alongside drawings and photographs. Drawing from the artist\u2019s ongoing exploration of what he calls the \u2018genealogy of form,\u2019 the works draw from the material and formal traditions of Indigenous communities in northeast Argentina while linking them to broader histories across the Americas. The sculptures are at once monumental and anthropomorphic. Their surfaces are covered with dense networks of line drawings, resist straightforward interpretation while holding onto layers of cultural memory.<\/p>\n \u00a0<\/p>\n The exhibition incorporates influences from Chaile\u2019s time in Montana, where he observed a No Kings Day protest that shaped the atmosphere of the new works. Charcoal drawings on canvas echo the markings on the sculptures, while photographs from the protest offer a documentary counterpart. The title itself, half in Spanish and half in Portuguese, reflects Chaile\u2019s negotiation between statement and question, declaration and doubt: \u2018This is America\u2019 followed by \u2018What is the limit?\u2019<\/p>\n \u00a0<\/p>\n name: <\/strong>Esto es Am\u00e9rica, o qual \u00e9 o limite?<\/a><\/p>\n artist:\u00a0<\/strong>Gabriel Chaile<\/a><\/p>\n gallery:\u00a0<\/strong>Marianne Boesky Gallery<\/a><\/p>\n location:<\/strong>\u00a0New York, NY<\/p>\n dates:\u00a0<\/strong>September 4th \u2014 October 18th, 2025<\/p>\n image \u00a9 Macy Rajacich, courtesy Marianne Boesky Gallery<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n The Leeum, Samsung Museum of Art will open Lee Bul: After 1998, a large-scale survey tracing nearly three decades of work by one of Korea\u2019s most influential contemporary artists. Bringing together around 150 pieces, the exhibition spans performance, sculpture, installation, and drawing, examining Lee Bul\u2019s sustained inquiry into the body\u2019s entanglement with society, technology, and systems of power. Together, a range of works illuminate her engagement with utopian modernity\u2019s ideals and contradictions, and the recurring human pursuit of perfection.<\/p>\n \u00a0<\/p>\n Organized in collaboration with M+ Hong Kong, the exhibition unfolds as a landscape where individual memory and historical fragments intersect with broader sociopolitical references. The show charts the evolution of Lee Bul\u2019s practice, and highlights her role in expanding conversations around humanity\u2019s past and imagined futures.<\/p>\n \u00a0<\/p>\n name:\u00a0<\/strong>Lee Bul: From 1998 to Now<\/a><\/p>\n artist:\u00a0<\/strong>Lee Bul<\/a><\/p>\n museum:\u00a0<\/strong>Leeum, Samsung Museum of Art<\/a><\/p>\n location: <\/strong>Seoul, South Korea<\/p>\n dates:\u00a0<\/strong>September 4th, 2025 \u2014 January 4th, 2026<\/p>\n installation views, \u2018Lee Bul: From 1998 to Now\u2019, Leeum Museum of Art, Seoul, 2025. courtesy of the artist and BB&M \u00a9 Lee Bul, photo by Jeon Byung-cheol<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n During Paris Design Week, Pli Office will present DESIGN DISCO CLUB, an exhibition dedicated to a new generation of designers and architects reshaping contemporary practice. Drawing on the collective energy of disco, the project frames design as a space of freedom, emotion, and shared experience, while questioning the balance between industrial and human rhythms. With scenography by Paf atelier, the exhibition stages a diverse spectrum of works that reflect the shifting temporalities of production and the commitments that define today\u2019s creative landscape.<\/p>\n \u00a0<\/p>\n The show will feature contributions from around forty emerging creators alongside legendary fashion houses like Dior, Jean Paul Gaultier, Marine Serre, Marie-\u00c8ve Lecavalier, and Mugler. A range of objects are each presented as an example from a multifaceted moment in design. With a series of talks, DESIGN DISCO CLUB adopts the spirit of a club to become a gathering space for imagining the cultural forms of tomorrow.<\/p>\n \u00a0<\/p>\n name:<\/strong> DESIGN DISCO CLUB<\/a><\/p>\n gallery:\u00a0<\/strong>Pli Office<\/a><\/p>\n location: <\/strong>Lafayette Anticipations<\/a>, Paris, France<\/p>\n dates:\u00a0<\/strong>September 6th \u2014 12th, 2025<\/p>\n image courtesy Pli Office<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n This fall, Paris marks the 40th anniversary of The Pont Neuf Wrapped with a citywide tribute to Christo and Jeanne-Claude<\/strong><\/a>. The Christo and Jeanne-Claude Foundation, supported by the City of Paris, will stage a free outdoor exhibition along the Seine. Titled Christo and Jeanne-Claude: Paris Projects, the installation will highlight the couple\u2019s close relationship with the French capital, where they lived, worked, and realized a series of landmark projects over several decades. The program also includes the naming of a public square in their honor, underscoring the city\u2019s recognition of their enduring cultural impact.<\/p>\n \u00a0<\/p>\n Paris served as both the starting point and central site for Christo and Jeanne-Claude\u2019s artistic collaborations. Their interventions included Wall of Oil Barrels \u2014 The Iron Curtain (1961\u201362), Wrapped Statue, Trocadero (1964), The Pont Neuf Wrapped (1975\u201385), and L\u2019Arc de Triomphe, Wrapped (conceived in 1961, realized posthumously in 2021). Artist JR<\/strong><\/a> will revisit the Pont Neuf with a new project<\/strong><\/a> that will transform the iconic bridge into a stone-like cave for two weeks in September 2025..<\/p>\n \u00a0<\/p>\n name:<\/strong> Christo and Jeanne-Claude: Paris Projects<\/a><\/p>\n artist: <\/strong>Christo and Jeanne-Claude<\/a><\/p>\n location:\u00a0<\/strong>Paris, France<\/p>\n dates:\u00a0<\/strong>September 6th \u2014 October 30th, 2025<\/p>\n Christo and Jeanne-Claude, The Pont Neuf Wrapped, Paris, 1975-85 \u2014 image by Wolfgang Volz \u00a9 1985 Christo and Jeanne-Claude Foundation<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n Bernhard Knaus Fine Art will present Sweets and Paradise, a new exhibition of photographic works by Ralf Peters. Recognized as a leading figure in conceptual photography in Germany, Peters uses digital manipulation to reframe everyday objects, landscapes, and environments, unsettling the line between reality and construction. His practice asks viewers to reflect critically on how images shape perception.<\/p>\n \u00a0<\/p>\n The exhibition brings together two recent series. In SWEETS, natural forms such as branches and leaves are digitally enhanced against vivid backgrounds, transforming them into visual compositions that waver between authenticity and invention. PARADISE introduces AI-generated<\/strong><\/a> gardens and architectural visions that draw from cultural and religious ideals, evoking both the desire for harmony and the unease of a digitally engineered utopia. Shown together, the works highlight the tension between nature\u2019s fragility and technology\u2019s promise of perfection, positioning photography as a space where beauty, illusion, and critique converge.<\/p>\n \u00a0<\/p>\n name:\u00a0<\/strong>Sweets and Paradise<\/a><\/p>\n artist:\u00a0<\/strong>Ralf Peters<\/a><\/p>\n gallery:\u00a0<\/strong>Bernhard Knaus Fine Art Gallery<\/a><\/p>\n location:\u00a0<\/strong>Frankfurt, Germany<\/p>\n dates:\u00a0<\/strong>September 6th \u2014 November 22nd, 2025<\/p>\n Ralf Peters, Poppi Paradise, 2025, image courtesy Bernhard Knaus Fine Art Gallery<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n The Pinault Collection will present the first solo exhibition in France dedicated to Lygia Pape (1927\u20132004), a central figure of the Brazilian avant-garde. Serving as a prelude to the upcoming exhibition Minimal<\/strong><\/a>, Lygia Pape: Weaving Space is built around a major work from the collection, Tt\u00e9ia 1, C (2003\/2025). Formed from copper threads stretched across space, the installation immerses visitors in an environment where light and movement activate the work. This embodies Pape\u2019s idea of \u2018weaving space\u2019 and redefines the viewer\u2019s role in the artistic encounter.<\/p>\n \u00a0<\/p>\n The exhibition brings together key pieces from across Pape\u2019s career, from her early abstract engravings to her monumental Livro Noite e Dia III (Book of Night and Day III, 1963\u20131976), as well as a selection of experimental films. Deeply informed by Brazil\u2019s sociopolitical context, her work reflects a commitment to social transformation, dissolving the boundaries between art and life. The show highlights Pape\u2019s place alongside Lygia Clark and H\u00e9lio Oiticica as one of the defining voices of Brazil\u2019s postwar avant-garde.<\/p>\n \u00a0<\/p>\n name:\u00a0<\/strong>Lygia Pape. Tisser l\u2019espace<\/a><\/p>\n artist: <\/strong>Lygia Pape<\/p>\n gallery:\u00a0<\/strong>Bourse de Commerce \u2013 Pinault Collection<\/a><\/p>\n location: <\/strong>Paris, France<\/p>\n dates:\u00a0<\/strong>September 10th, 2025 \u2014 January 26th, 2026<\/p>\n LLygia Pape, Tt\u00e9ia 1, C (2003\/2025), image courtesy Pinault Collection<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n Gallery FUMI<\/strong><\/a> will open Crockery, a new exhibition by Max Lamb<\/strong><\/a> in collaboration with ceramics manufacturer 1882 Ltd., on September 11, 2025. The series features slip-cast earthenware pieces produced from plaster models hand-carved by Lamb, extending his ongoing investigation into material possibilities. Made in Stoke-on-Trent, the works embody the technical rigor of 1882 Ltd. and the designer\u2019s experimental approach, rethinking the role of ceramics<\/strong><\/a> in contemporary design.<\/p>\n \u00a0<\/p>\n With Crockery, Lamb turns to a medium traditionally associated with fragility and transforms it into functional forms that challenge assumptions about strength and durability. His interest lies in pushing ceramic beyond its conventional uses, exploring its viability as both a sculptural surface and as a material capable of bearing weight and shaping furniture. In doing so, the project reframes ceramic as both resilient and versatile, opening new ground for its role in design.<\/p>\n \u00a0<\/p>\n name:\u00a0<\/strong>Crockery<\/a><\/p>\n artist:\u00a0<\/strong>Max Lamb<\/a> with 1882 Ltd.<\/a><\/p>\n gallery:\u00a0<\/strong>Gallery FUMI<\/a><\/p>\n location: <\/strong>London, UK<\/p>\n dates:\u00a0<\/strong>September 11th \u2014 30th, 2025<\/p>\n image courtesy Penguins Egg Studio<\/a> (Tom Wright) for Gallery FUMI<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n Friedman Benda<\/strong><\/a> will open Salut, \u00c7a va, c\u2019est moi, the fourth solo exhibition by Carmen D\u2019Apollonio, on September 11. Known for her playful and idiosyncratic approach, the Swiss-born, Los Angeles\u2013based artist expands her practice here with new materials and sculpted glass lampshades, pushing her work toward greater dimensionality and narrative depth.<\/p>\n \u00a0<\/p>\n The exhibition unfolds like a theatrical set, populated by personified lamps that perform across the gallery space \u2014 leaning, dripping, suspending, and wandering. D\u2019Apollonio\u2019s new glass elements amplify the dialogue between form, light, and shadow, revealing more of what was once hidden behind linen shades. Titles such as Why fall in love when you can\u2019t fall asleep and If you ever have forever highlight her use of language as a candid, humorous, and empathetic extension of her practice, drawing viewers into a direct conversation that is both intimate and universal.<\/p>\n \u00a0<\/p>\n name: <\/strong>Salut, \u00c7a va, c\u2019est moi<\/a><\/p>\n artist: <\/strong>
\nartist:<\/strong> Louise Bourgeois<\/a>
\ngallery:<\/strong> Kukje Gallery<\/a>
\nlocation:<\/strong> Seoul, South Korea
\ndates:<\/strong> September 2nd \u2014 October 26th, 2025<\/p>\nGABRIEL CHAILE: ESTO ES AM\u00c9RICA, O QUAL \u00c9 O LIMITE?<\/a><\/h2>\n
lee bul: from 1998 to now<\/h2>\n
Design Disco Club<\/h2>\n
CHRISTO AND JEANNE-CLAUDE: PARIS PROJECTS<\/a><\/h2>\n
Sweets and Paradise<\/h2>\n
Lygia Pape. Tisser l\u2019espace<\/h2>\n
Max Lamb: Crockery<\/h2>\n
Carmen d\u2019Apollonio: Salut, \u00e7a va, c\u2019est moi<\/h2>\n