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Artwork
Maxwell Rabb
On this month-to-month roundup, we highlight 5 stellar exhibitions at small and rising galleries.
DREI, Cologne
By Apr. 12
In German artist Mira Mann’s Cinémathèque Moranbong (2025), two Kodak Carousel slide projectors show photographs of North Korean dancer Ahn Seung-hee performing a standard “swords” dance. Initially captured by French photojournalist Chris Marker throughout his 1958 go to to North Korea, these photographs have been reinterpreted by Mann, who used magnifying glasses to {photograph} the main points. Offered in a twin projection slideshow, the projections simulate the dancer’s actions. This work is the guts of Mann’s exhibition “Solo” at DREI.
Many works in Mann’s exhibition are associated to the performances and affect of Choi Seung-hee, the mom of Ahn and a world-famous Korean dancer. By using electrical motors and know-how, Mann’s kinetic sculptures resonate with the motion of dance. For example, Poison Fan (2025) options two brightly coloured followers connected to motorized windshield wipers, evoking the standard Korean buchaechum fan dances. In the meantime, Solitary Dancer (2025)—a chunk combining a gong, intercourse toys, a microphone, a speaker, and a movement detector—underscores the auditory expertise of bodily motion, amplifying the sounds of the gong all through the gallery.
Born in 1993 in Frankfurt, Germany, Mann presently lives and works in Düsseldorf. Final 12 months, their work was a standout within the 15th Gwangju Biennale in Korea. The artist is the recipient of the Peter Mertes Stipend 2025, which can culminate in a solo exhibition on the Bonner Kunstverein in Bonn, Germany.
Maybaum Gallery, San Francisco
By Mar. 13
1000’s of rolled-up, hand-dyed mulberry papers make up the intricate wall works of South Korean artist Ilhwa Kim. She meticulously arranges these tubes of paper, which she endearingly refers to as “seeds,” to create textural, rippling shade fields that jut out from the wall. A brand new sequence of those kaleidoscopic assemblages contains her first solo exhibition with Maybaum Gallery in San Francisco, titled “The Geographic.”
From a distance, Kim’s Geographic Matter (2024), an summary assortment of pink, blue, teal, inexperienced, and yellow hues surrounded by undyed white papers, may very well be mistaken for a frantic summary portray. Up shut, the numerous sizes of the mulberry papers create a three-dimensional work that ebbs and flows, mimicking the undulating contours of a topographic map. “I create artworks that mix sculpture and portray in an effort to discover the richness, dynamism, and depth of sensory expertise on canvas,” Kim mentioned in a statement. “These layered, entangled, and ever-evolving sensory experiences, occurring in a world outlined by nature’s infinite prospects, are what I attempt to seize in my works.”
An MFA graduate from Hongik College in Seoul, Kim has beforehand held solo exhibitions on the House of Fine Art in London and several other venues throughout South Korea, together with Gallery Ok and Insa Artwork Middle.
Swivel Gallery, New York
By Mar. 22
Every of the three artists featured in Swivel Gallery’s Tribeca group present, “Interspecies: New Scenarios Of Symbiotic Coexistence,” probes the intersection of know-how and human life. Alien sculptures, from Italian artist Camilla Alberti’s “The Alchemy of Melted Our bodies” sequence, are created from twisted pigmented plaster and cellulose-based modeling paste. Suspended inside their lengthy, sharp metal legs is a lichen pattern contained in glass, drawing a juxtaposition between natural and artificial supplies.
Surrounding the sculptures are summary work by New York–based mostly artist Anastasia Komar. Her work options sinuous, root-like buildings made from silver electroplated polymer that entwine across the canvas. Striatum II (2024), for instance, illustrates this method with a canvas of undulating blue brushtrokes framed by tentacle-like silver limbs.
The guts of the exhibition is Shanghai-based painter Bai Yiyi’s Crowds Drift With The Wind, Gradually Dissipating Like A Whisper (2024), measuring roughly 10 toes by 13 toes. This sprawling shade area contains frenetic, distorted imagery, from fields of flowers to disparate eyeballs. This massive-scale work captures the chaotic essence of the digital age, the place the relentless inflow of data overwhelms our senses.
L’Atelier 21, Casablanca
By Mar. 22
The Casablanca Aquarium shuttered within the Nineteen Eighties, but its legacy has remained embedded within the Moroccan metropolis’s cultural cloth. The historic website is now the topic of Mohamed Fariji’s “L’aquarium imaginaire, épisode #2” at close by artwork area L’Atelier 21. Since 2012, Fariji has championed the aquarium’s legacy, now doing so via a brand new physique of labor that pays homage to its authentic ceramic installations.
Fariji has crafted replicas of the marine-inspired ceramic murals that had been initially proven on the aquarium utilizing cardboard, resin, and copper on wooden. For instance, Les requins qui dansent IV (2024) options stylized shark types towards an emerald-green mosaic. In the meantime, Les prédateurs des abysses I (2024) includes a geometric sawfish amongst a sophisticated design consisting of a whole bunch of small inexperienced, orange, and white squares. By reviving the aquarium’s inner aesthetics, the artist intends to faucet into town’s historical past.
“I’ve been diving into the archives of this collective reminiscence, searching for what has been forgotten and erased by the waves of time,” he mentioned in a statement. “My challenge isn’t restricted to the rehabilitation of an deserted place; it aspires to recreate what has been misplaced and to provide a second life to this aquarium.”
Born in Casablanca in 1966, Fariji is the co-founder and director of Atelier de l’Observatoire, an artwork and analysis area devoted to uplifting artistic initiatives in Morocco. He studied on the Nationwide Institute of High quality Arts in Tétouan, Morocco, and the Llotja Faculty of Artwork and Design in Barcelona.
Canine have lengthy been heralded as “man’s finest good friend.” It’s a sentiment Korean sculptor Seounghee Lee honors in her intricate totem-like work. One such piece, True Love (The Key) (2025), is a large-scale silver-leafed resin sculpture of a key that includes the face of a dog-like angel. Engraved with the phrases “True Love,” this sculpture emphasizes the bond between people and canine, the dominating theme for Lee’s exhibition “Pieces of” at sangheeut.
The title suggests the unfinished nature of the exhibition’s narrative of human and canine interactions. To assist inform the story, Lee mythologizes the origin story of canine and man. Particularly, her “Doggie Coin” sequence illustrates an imagined first interplay between canine and people on a sequence of round bronze sculptures. On a number of of those “cash,” together with Doggie Coin 2 (The Beginning of the World) (2025), she depicts a human hand reaching out to a star-eyed canine in a scene evoking Michelangelo’s The Creation of Adam (ca. 1512).
Born in 1994, Lee has showcased her work at numerous galleries throughout South Korea, together with The Weekend Room in Seoul, Goyang Aram Nuri Arts Middle in Goyang, and Mullae Artwork House in Seoul. Lee graduated with an MFA from Seoul’s Hongik College in 2021 and presently lives and works in Ilsan, South Korea.
MR
Maxwell Rabb
Maxwell Rabb is Artsy’s Workers Author.
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