BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//ArchUp - ECPv6.16.2//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:ArchUp
X-ORIGINAL-URL:https://archup.net
X-WR-CALDESC:Events for ArchUp
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:UTC
BEGIN:STANDARD
TZOFFSETFROM:+0000
TZOFFSETTO:+0000
TZNAME:UTC
DTSTART:20240101T000000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=UTC:20250715T080000
DTEND;TZID=UTC:20260712T170000
DTSTAMP:20260522T170550
CREATED:20251027T225628Z
LAST-MODIFIED:20251027T225628Z
UID:10000905-1752566400-1783875600@archup.net
SUMMARY:The Many Lives of the Nakagin Capsule Tower
DESCRIPTION:The exhibition titled The Many Lives of the Nakagin Capsule Tower is going to be held at the Museum of Modern Art\, New York City\, from July 10\, 2025\, to July 12\, 2026. The exhibition is a reflection of the fifty-year-old history of the Nakagin Capsule Tower\, which was designed by Kisho Kurokawa\, a leading architect of the Japanese Metabolism movement. The building was initially completed in 1972 and was a grouping of prefabricated modular capsules connected to communal cores\, thus making it a prominent example of the Metabolism movement. The exhibition will not only tell the story of the tower’s rise as a metaphor for the future but also about the changes it underwent throughout its life cycle until the final demolition of the last unit took place in 2022. However\, the legacy of the capsule continues to be present through the units that were preserved and the reinterpretations that were made. \nEvent Overview\nThe A1305 capsule is the most important aspect of the exhibition; only fourteen units were restored after the demolition. The display includes original drawings\, models\, ephemera\, photographs\, and films that illustrate the building’s conception\, marketing\, use\, decline\, and legacy. Video interviews with ex-residents and a virtual tour give an intimate and spatial insight into the narrative. The exhibition views the tower as a dynamic repository of architectural trial\, urban evolution\, and cultural remembrance. \nArchitectural Analysis\nThe Nakagin Capsule Tower’s design was based on the principles of flexibility\, modularity\, and urban living at a very small scale. The prefabricated capsules were designed in such a way that they could be easily replaced with others as the requirements changed; thus\, the whole building was similar to a living organism. The combination of materials and structure consisted of concrete and steel cores that supported the factory-made capsule units. The building\, in terms of context\, not only addressed the issue of rapid urbanization of post-war Tokyo but also the avant-garde ideas of machine\, growth\, and transformation in architecture. A critical reflection arises concerning the original promise of replaceability and longevity; was it actually realistic? The capsules were mostly untouched for decades\, maintenance turned out to be very expensive\, and finally\, the tower had to be demolished. The exhibition demands from the audience to ponder over the conflict between the futuristic flexibility and the down-to-earth durability in the context of architecture. \nProject Importance\nFor architects and designers this exhibition provides rich lessons on the interplay of innovation and lifespan in built work. It teaches that architectural ambition must consider the long term as well as the immediate. From a typological perspective\, the tower influenced ideas about micro dwellings\, urban densities\, and modular construction. In the current era of sustainability and transformation\, the project matters because it invites reflection on how architecture adapts\, becomes repurposed\, and ultimately becomes part of cultural memory rather than only physical infrastructure. \n✦ ArchUp Editorial Insight\nThe Many Lives of the Nakagin Capsule Tower narrates a story of architecture that is nothing but an experiment and heritage at the same time. The display focuses on the important aspects like modularity\, urban density\, and the participation of architecture in the life of the city that is constantly changing. One of the important issues to discuss is if the building’s innovative system could actually provide the promised renewal and replacement over the years. However\, the ongoing impact of the project demonstrates how far architecture can go\, over the barrier of physical life\, to be transformed into an idea\, a model\, and a legacy. \nConclusion\nThe exhibition is a representation of a daring architectural concept and its intricate life post-construction. It is through the capsule\, models\, and archival material that the show invites the audience to interact with architecture in its dual capacity as an aesthetic form and a procedural aspect\, as a social space and a temporal system. For the architects and the architectural community\, the exhibition is a reminder that the design process does not only cover the moment of creation but also the entire trajectory of use\, decay\, adaptation\, and memory. The exhibition compels us to consider how architecture keeps on being relevant by changing through evolving and being reimagined. The history of the Nakagin Capsule Tower is such that it teaches us the dramatic ideas in architecture may\, though unintentionally\, persist to play a role in shaping new design and revisiting the old concepts of permanence\, flexibility\, and valuelessness. \nExplore the Latest Architecture Exhibitions & Conferences\n\n\n\nArchUp offers daily updates on top global architectural exhibitions\, design conferences\, and professional art and design forums. Follow key architecture competitions\, check official results\, and stay informed through the latest architectural news worldwide. ArchUp is your encyclopedic hub for discovering events and design-driven opportunities across the globe. \n\n\n\nBrought to you by the ArchUp Editorial Team\n\n\n\nInspiration starts here. Dive deeper into architecture\, interior design\, research\, cities\, design\, and cutting-edge projects on ArchUp.
URL:https://archup.net/event/the-many-lives-of-the-nakagin-capsule-tower/
LOCATION:Museum of Modern Art\, New York\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2025/10/The-Many-Lives-of-the-Nakagin-Capsule-Tower-.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20251001T080000
DTEND;TZID=UTC:20261231T170000
DTSTAMP:20260522T170550
CREATED:20251027T231357Z
LAST-MODIFIED:20251027T235517Z
UID:10000907-1759305600-1798736400@archup.net
SUMMARY:Maritime City
DESCRIPTION:The exhibition Maritime City opens on the 1st of October in 2025 at the historic A. A. Thomson and Co. building\, which is a part of the South Street Seaport Museum in NYC\, and stays until the 31st of December in 2026. The exhibition showcases New York’s maritime roots and its global cultural and financial center\, where the seaport was the main thing that connected the city’s identity to the world. The exhibition spreads through three floors and collects over five hundred objects from the museum’s archives and collections that have been very carefully chosen to show the city’s journey from a port to a metropolis. \nThe exhibition takes place in a cast iron and stone warehouse that has been restored\, which was originally built in 1868. The architecture becomes part of the narrative\, representing the city turning to the cultural side and preserving the historical site. Visitors learn how ships\, shipping lines\, port workers\, immigrants\, waterfront industries\, and the built environment together made New York a world city. \nEvent Overview\nThe exposition traces the development of New York waterways and the people who provided the labor associated with them. The items on display help reconstruct the circumstances of seagoing lives\, the character of waterfront businesses\, and the coping strategies of newly arrived immigrants. The exhibition narrates the story of the entire New York area\, encompassing the five boroughs\, Long Island\, and the lower Hudson Valley region. It uses ship parts\, tools\, personal items\, and archival photographs to tell us a layered story of how the seaport influenced the design of buildings\, development of infrastructure\, and lifestyles of the people. The preserved structure of the building reinforces the relationship between maritime industry and the urban fabric\, thus allowing the exhibition to integrate history and space into one experience. \nArchitectural Analysis\nMaritime City’s design maintains the warehouse structure as a main storylineof the narrative. The vertical layout of the building has created a journey that mirrors the different aspects of maritime history. The visitors started at dock level and then traveled through the storage and office areas\, which was the city growing through architecture. The curators kept the original stone walls\, iron columns\, and timber beams by showcasing them\, which not only emphasized but also material honesty and authenticity. These features not only express the industrial atmosphere of the space but also literally connect with the stories told by the artifacts. \nThe site of the Seaport district is a big factor that adds to the meaning of the exhibition since it is located in one of the oldest preserved waterfront places in the city. One cannot help but think whether the exhibition is too much on the past and not sufficiently on the present\, and the issues of waterfront resilience\, climate adaptation\, and public access are among the most important ones. However\, the design has already illustrated the interrelation of maritime labor\, architecture\, and urban evolution\, thus turning the building itself into a storyteller. \nProject Importance\nMaritime City is an illuminative experience for architects and designers\, revealing the influences of material culture and industry on urban developments. It suggests that the design of buildings is not only about the architects’ creative intentions but also about the economic systems\, labor\, and infrastructural considerations. The show educates the audience that urban places are dynamic archives of the past related to production and trade\, where the built environment functions as both a witness and a participant. From a typological perspective\, it points out how the industrial buildings could retain their character while occupying new cultural roles through the process of adaptation. In the present-day scenario of rising sea levels and changing waterfront economies\, the exhibition reminds us that heritage and sustainability are intimately connected; thus\, it is still impactful. It opens the eyes of the designers to look at the past as a source of strength for the new urban futures that are resilient and meaningful rather than as nostalgia. \n✦ ArchUp Editorial Insight\nMaritime City effectively connects architecture\, industry\, and history\, showing how New York’s identity was formed by its relationship to the sea. The exhibition design uses the physical qualities of the warehouse to create a direct dialogue between space and content. A constructive question remains about whether the show could address current waterfront issues more directly. Yet it offers a strong example of how heritage architecture can serve education and reflection\, revealing how the past continues to shape the imagination of urban design. \nConclusion\nMaritime City is an exhibition as well as an architectural experience. With the help of artifacts\, restored industrial space\, and curatorial storytelling\, it shows how architecture remembers the past in terms of work\, trade\, and transformation. The exhibition invites the audience to interpret the city as a result of movement and exchange\, constructed by both hard labor and creative adaptation. For architects\, it supports the notion that buildings and materials are not inactive remnants but rather active witnesses to the changes in culture and environment. Maritime City is a considered model for the connectivity of history\, design\, and heritage that can become a source of inspiration for the future of cities that are influenced by water\, industry\, and imagination. \nExplore the Latest Architecture Exhibitions & Conferences\n\n\n\nArchUp offers daily updates on top global architectural exhibitions\, design conferences\, and professional art and design forums. Follow key architecture competitions\, check official results\, and stay informed through the latest architectural news worldwide. ArchUp is your encyclopedic hub for discovering events and design-driven opportunities across the globe. \n\n\n\nBrought to you by the ArchUp Editorial Team\n\n\n\nInspiration starts here. Dive deeper into architecture\, interior design\, research\, cities\, design\, and cutting-edge projects on ArchUp.
URL:https://archup.net/event/maritime-city/
LOCATION:South Street Seaport Museum\, A.A\, Thomson & Co.\, 213 Water Street\, New York\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2025/10/Maritime-City-.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20251001T080000
DTEND;TZID=UTC:20261231T170000
DTSTAMP:20260522T170550
CREATED:20251028T035724Z
LAST-MODIFIED:20251028T035724Z
UID:10000906-1759305600-1798736400@archup.net
SUMMARY:The Historic Buildings of the South Street Seaport
DESCRIPTION:The Historic Buildings of the South Street Seaport exhibition is an amazing journey through the ups and downs of one of the most lively cultural areas of New York City. The exhibition not only narrates about the city using the maritime silhouette but also shows that restoration and adaptation can happily survive together in a modern city context. It takes the visitors’ time traveling and leads to seeing how the old warehouses\, counting houses\, and piers are no more merely commercial centers but lively public spaces. \nThe Seaport is a witness to the history of the urban setting\, revealing the delicate balance of the three components of craftsmanship\, history\, and innovation. The exhibition\, through the use of drawings\, photographs\, and even physical fragments\, documents the processes of the preservation and the transformations that have made it possible for the waterfront area to keep its historical character and adapt it to new demands. It has set the stage for a discourse on what it means to protect the past in a metropolis that is changing so fast. At the same time\, the architecture of the South Street Seaport reflects such stories and events as stronghold\, continuity\, and even rejuvenation\, thus providing great insights to architects\, designers\, and urban thinkers. \nThis exhibition is a golden chance to scrutinize the architectural DNA of the Seaport\, taking and examining not only its visual attractiveness but also its social and economic function. It shifts the historical preservation discourse to an ongoing dialogue between time and function rather than a static display of the past. \nContent\nThe show allows people to experience the South Street Seaport’s architectural and cultural development. The transformation of a working port into a living museum of maritime heritage is illustrated through historical drawings\, archival images\, and digital reconstructions. The displays also showcase the skills used in the construction of the district’s very first buildings\, like brick warehouses and timber-framed shops built to survive the city’s ever-changing weather. \nInteractive maps and models are among the tools that allow visitors to follow the Seaport’s architectural path and recognize the changes in the district’s urban fabric throughout centuries. With the new interventions\, modern building elements get added with a finite understanding of painstaking care that guarantees a balance is maintained between the old and new. Rather than recreating the past\, these interventions are like transparent layers that let history be visible while accommodating the present. \nThe emphasis goes further by looking at the social aspect of the site besides just that of preservation. The exhibition brings forth the point that the Seaport has been turning from a mere tourist attraction into a community space where history meets commerce\, culture\, and education. Being a dual identity\, this situation strengthens the idea that heritage should not be made to remain untouched\, but rather\, active use is what keeps the memory alive. \nArchitectural Analysis\nThe South Street Seaport is a perfect example of how buildings can express the rhythm and the durability of a city’s past. Besides\, the bright and colorful material language of brick\, wood\, and cast iron gives the city an industrial character that is all its own. The proportionate dimensions\, the repetition of facades\, and the presence of open bays are nothing but the demonstrations by the builders of the logic of utility\, but with careful restoration\, they are now elevated to be pieces of art of everlasting beauty. \nThe methods of preservation adopted focus entirely on the materials used and thus are very much authentic. Instead of replacing original surfaces\, they were reinforced\, and the contemporary insertions were made in a manner that is very clear and thus not confusing to the viewer as to what is historical and what is modern. This design philosophy is in a way that surrenders to the original fabric by granting it the love of being the only one\, while at the same time keeping the site active. \nIn a major way\, the exhibition prompts a discussion about the limits of restoration. Is it possible for a place to be real when the whole of its economic and social functions have been changed? Does adaptive reuse preserve or alter the soul of architecture? The exhibition proposes that authentic preservation is not in the duplication but rather in the creation of continuity through responsible transformation. \nProject Importance\nThe exhibition provides a heavy lesson about cities that can grow yet keep their architectural memory. For architects and designers\, it reveals the necessity that adaptive reuse be considered a strategy that is consistent with the historical conservation and the sustainability. The Seaport\, with its repurposing of the existing buildings\, not only reduces environmental waste but also keeps cultural meaning. \nThe above project still further reveals the link between architecture and the collective identity. The Seaport’s transformation demonstrates that heritage areas can become even more important when accommodating contemporary social and cultural needs. It imparts the lesson that conservation is not merely an act of nostalgia but rather a forward-thinking process that interlinks the past with the present. \nThe exhibition in the current urban landscape\, which often sees modernization as a threat to the historical fabric\, is a powerful reminder that progress and preservation can be two sides of the same coin. It shows that heritage architecture can still foster new creativity without compromising authenticity\, thus becoming a model for the future of restoration in different parts of the world. \n✦ ArchUp Editorial Insight\nThe exhibition manages to exhibit the South Street Seaport as a vibrant archive of nautical architecture. The way it is structured underlines visual rhythm\, material texture\, and the difference between restored and modern components. The design technique conveys the mood of the waterfront very accurately and gently. On the other hand\, the exhibition questions the issue of authenticity and the extent of commerce’s influence. In other words\, by making historical neighborhoods attractive for culture\, do they then keep their core or fall into the trap of commodification? This contradiction is the source of the intellectual depth of the exhibition. Besides\, its combination of rigorous research and easy understanding has made it an important factor in today’s urban heritage comprehension. \nConclusion\nThe exhibition of the Historic Buildings of the South Street Seaport is not just a visual time travel; it is a paradigm shift in how cities evaluate their architectural heritage and how they sustain it. It shows that buildings can go through changes without losing their essence\, and thus\, preservation and innovation can live together in the same urban space. \nIn the eyes of the architectural community\, the Seaport is an instance that thoughtful design can not only bring about the revival of old structures but also impart modernity to the original concept as well. It does not cease to point out that architecture is a dynamic practice that gets its shape from the surroundings\, memory\, and adaptability. The exhibition on the heritage site has brought forth the notion that sustainable development is not replacing the past but rather\, understanding and incorporating it. By letting the Seaport’s spirit linger on\, the project reinterprets preserving as a creative act that links the past with the present and opens up new ways of thinking in urban design. \nExplore the Latest Architecture Exhibitions & Conferences\n\n\n\nArchUp offers daily updates on top global architectural exhibitions\, design conferences\, and professional art and design forums. Follow key architecture competitions\, check official results\, and stay informed through the latest architectural news worldwide. ArchUp is your encyclopedic hub for discovering events and design-driven opportunities across the globe. \n\n\n\nBrought to you by the ArchUp Editorial Team\n\n\n\nInspiration starts here. Dive deeper into architecture\, interior design\, research\, cities\, design\, and cutting-edge projects on ArchUp.
URL:https://archup.net/event/the-historic-buildings-of-the-south-street-seaport/
LOCATION:https://southstreetseaportmuseum.org/the-buildings/
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2025/10/The-Historic-Buildings-of-the-South-Street-Seaport.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260211T080000
DTEND;TZID=UTC:20260531T170000
DTSTAMP:20260522T170550
CREATED:20260213T215321Z
LAST-MODIFIED:20260213T215321Z
UID:10001167-1770796800-1780246800@archup.net
SUMMARY:Denise Scott Brown: City Street House 2026
DESCRIPTION:Overview\nThe presentation of *City Street House* as a historic residential development by Denise Scott Brown demonstrates her design methods and urban design and architectural space planning. The session includes presentations\, architectural analysis\, and discussions on postmodern residential design principles. The event connects to broader industry insights found in architecture events. \nFocus\nThe research investigates three areas which include urban residential design and adaptive reuse and the creative development of compact urban spaces. The study will examine how materials are selected and how exterior facades and interior spaces are designed. The lecture complements theoretical discussions presented in architecture articles and it parallels design analysis approaches which architecture competitions use. \nProgram\nThe event begins with a main speech about *City Street House* which is followed by a question-and-answer period with architects and designers and students. The project study provides participants with two activities which include small-group design discussions and urban design examination activities. \nAudience\nThe lecture is open to architects\, urban designers\, architecture students\, researchers\, and professionals who study postmodern residential architecture and urban infill developments. \nEvent Details\n\n\n\nItem\nDetails\n\n\nDate\nFeb 11 – May 31\, 2026 \n\n\nTime\n10am – 8pm \n\n\nVenue\n\nBilbao Fine Arts Museum\n\n\n\nEvent Type\nArchitectural lecture and discussion\n\n\nAccess\nOpen to registered attendees\n\n\nFees\nGeneral Admission — 50 USD / Students — 25 USD\n\n\n\n✦ ArchUp Editorial Insight\nThe professional analysis of postmodern urban residential architecture gets executed through Denise Scott Brown City Street House 2026 which serves as a dedicated research platform. The architecturally design proceeds through three main elements which include spatial design methods and material selection and urban site development patterns for small city areas. The lecture and discussion format enables critical examination of urban infill challenges\, facade articulation\, and interior spatial organization\, offering practical and theoretical insights for architects and students. The event serves academic and professional purposes while it helps people understand adaptive urban housing and real-world applications of postmodern design principles which connect design theory with actual urban environments. \nCritical Conclusion\nThe Denise Scott Brown City Street House 2026 event provides a focused platform to study postmodern urban residential architecture. Its value exists through three elements which include professional development and spatial analysis and design discussion about contextual designs. The event presents academic and professional content while it shows practical difficulties which emerge during urban infill development and small-lot residential construction projects that happen between bigger architectural events. \nExplore the Latest Architecture Exhibitions & Conferences\n\n\n\nArchUp offers daily updates on top global architectural exhibitions\, design conferences\, and professional art and design forums. Follow key architecture competitions\, check official results\, and stay informed through the latest architectural news worldwide. ArchUp is your encyclopedic hub for discovering events and design-driven opportunities across the globe.
URL:https://archup.net/event/denise-scott-brown-city-street-house-2026/
LOCATION:Bilbao Fine Arts Museum\, Eduardo Chillida square. Bilbao\, 48009\, Bilbao\, Bilbao\, -\, Spain
CATEGORIES:Conferences
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/02/DSB_Ciudad_calle_casa_4-1.jpg
ORGANIZER;CN="Bilbao Fine Arts Museum":MAILTO:direction@bilbaomuseoa.eus
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260212T080000
DTEND;TZID=UTC:20261231T170000
DTSTAMP:20260522T170550
CREATED:20260421T090316Z
LAST-MODIFIED:20260421T090316Z
UID:10001407-1770883200-1798736400@archup.net
SUMMARY:He Built This City: Joe Macken's Model
DESCRIPTION:Overview\nThe Museum of the City of New York presents “He Built This City: Joe Macken’s Model\,” an ongoing exhibition in the Dinan Miller Gallery celebrating a handmade architectural model of New York City constructed over 21 years by Queens-born artist Joe Macken. This is the first time the model has been presented to the public in New York City itself\, the subject and muse behind the entire project. \nThe exhibition is a rare instance of an architectural and artistic object being shown in the city it depicts\, creating a direct dialogue between the model and the lived urban reality visible just outside the museum’s walls. Its placement alongside MCNY’s permanent exhibitions “New York at Its Core” and “Timescapes” positions Macken’s work within a broader institutional narrative about how the city has grown\, changed\, and been imagined across time. \nFocus\nJoe Macken began the model in 2004 at his home in Middle Village\, Queens\, later continuing in Clifton Park\, New York. Working entirely by hand using everyday materials including balsa wood\, cardboard\, and glue\, he constructed a model spanning 50 by 27 feet\, comprising over 340 individual sections. The model renders New York’s skyline\, neighborhoods\, and landmarks with a combination of precision\, personal detail\, and artistic imagination rather than strict documentary accuracy. \nMacken started with 30 Rockefeller Plaza\, infusing its familiar form with details that signal his personal artistic vision from the outset. Over two decades\, the model expanded into a comprehensive portrait of the city at a scale that few individual artists have attempted. Its physical dimensions make it less a tabletop model and more an inhabitable environment: the installation in the Dinan Miller Gallery is designed to allow close inspection alongside appreciation of the full scale\, with binoculars provided for visitors to examine individual buildings in detail. When weather permits\, the North Terrace gives access to view the model’s north side. \nAn accompanying video in the gallery documents Macken’s hand-carving process\, giving the exhibition an additional layer that connects the finished object to the years of labour and decision-making behind it. \nBuilt entirely by hand using everyday materials\, the model spans 50 by 27 feet and comprises over 340 individual sections. It renders the city’s skyline\, neighborhoods\, and landmarks with remarkable precision\, character\, and imagination.\nMuseum of the City of New York\, Exhibition Description\, 2026 \nContext within the Museum\nThe exhibition is displayed on the museum’s first floor\, steps away from “New York at Its Core\,” which explores four centuries of urban transformation through themes of density\, diversity\, money\, and creativity\, and “Timescapes\,” which animates the city’s physical expansion over time. The museum frames the three presentations as a conversation: where “New York at Its Core” uses archival and material evidence and “Timescapes” uses moving image\, Macken’s model offers a tactile\, artistic interpretation of the built environment that brings the city’s past and present into a shared\, immersive space. \nArtist\nJoe Macken is a self-taught artist born in Queens\, New York. The model project\, spanning from 2004 to 2025\, represents a sustained commitment to a single work over more than two decades. It has been exhibited previously outside New York; this MCNY presentation marks its debut in the city that is its subject. Macken works in a tradition of outsider and folk art that intersects with architectural model-making\, though his work operates outside professional architectural or planning practice entirely. \nAudience\nThe exhibition is open to the general public and requires timed ticket purchase. Its subject matter and scale make it relevant to audiences spanning architecture and urban history enthusiasts\, artists and craftspeople\, educators and students\, and general visitors with an interest in New York City. The provision of binoculars and an outdoor viewing option signal an installation designed to reward sustained\, careful engagement rather than a quick pass-through. \nEvent Details\n\n\n\nStatus\nOngoing (no closing date listed)\n\n\nLocation\nDinan Miller Gallery\, Museum of the City of New York\, 1220 Fifth Ave at 103rd St.\, New York\, NY\n\n\nHours\nMon–Fri 10am–5pm / Sat–Sun 10am–6pm\n\n\nAdmission / Fees\nTimed tickets required — purchase via mcny.org. General admission applies; MCNY members free.\n\n\nArtist\nJoe Macken (Queens\, NY)\n\n\nModel Dimensions\n50 by 27 feet\, 340-plus individual sections\, constructed 2004–2025\n\n\nLead Support\nTodd DeGarmo / STUDIOS Architecture\n\n\nSponsors\nAmazon\, Matt and Marisa Brown\, RUDIN\n\n\nSupported by\nNYC Department of Cultural Affairs with NYC Council\, and individual donors\n\n\n\n\n✦ ArchUp Editorial Insight\nWhat makes Macken’s model architecturally interesting is not its accuracy but its subjectivity. A professionally produced scale model of New York exists in various forms\, from the Panorama of the City of New York at the Queens Museum to countless planning and real estate representations. Macken’s model is different because it is an artistic statement about the city rather than a document of it: the choices of what to include\, how to render details\, and where to begin (30 Rockefeller Plaza\, not an expected starting point) reveal a personal relationship with the built environment that professional models deliberately suppress. Showing this at MCNY\, where the permanent collection frames the city as a subject of historical and urban scholarship\, is an editorial decision that asks visitors to hold both registers at once: the city as data and the city as feeling. Whether the exhibition succeeds in making that tension explicit rather than merely implicit depends on its interpretive text\, which was not available in the source material. \n\n\nClosing Note\nA 50-by-27-foot handmade model of New York City\, built over 21 years by a single artist in Queens\, shown for the first time in the city it represents: the biographical and material facts of the project are themselves an argument about what it means to pay sustained attention to a place. For those interested in how cities are imagined\, represented\, and loved by the people who live in them\, the exhibition is worth the timed ticket.
URL:https://archup.net/event/he-built-this-city-joe-mackens-model/
LOCATION:Museum of the City of New York\, 1220 5th Ave\, New York\, NY 10029\, New York\, NY\, -\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/avif:https://archup.net/wp-content/uploads/2026/04/4gftm5bl1el3bod1.avif
ORGANIZER;CN="Museum of the City of New York":MAILTO:info@mcny.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260226T080000
DTEND;TZID=UTC:20260830T170000
DTSTAMP:20260522T170550
CREATED:20260310T205429Z
LAST-MODIFIED:20260310T211213Z
UID:10001297-1772092800-1788109200@archup.net
SUMMARY:Interactive Entertainment Architecture: Culture Lab\, Toronto 1991–1994
DESCRIPTION:Overview\n\nThe exhibition titled “Interactive Entertainment Architecture: Culture Lab\, Toronto 1991–1994” is being presented by the Canadian Centre for Architecture in Montreal\, Quebec. This exhibition will run from February 26 to August 30\, 2026\, in the Octagonal Gallery. The Canadian Centre for Architecture exhibition is about architecture\, media theory\, and digital cultural history. \nFocus\nThis exhibition looks back at Culture Lab\, which was a series of twelve talks that architect Brian Boigon set up at the back of the Rivoli rock club on Queen Street West in Toronto from 1991 to 1994. Culture Lab brought together a lot of people like architects\, philosophers\, artists\, science fiction writers\, and theorists to talk about things like cyberspace\, suburbia\, image culture\, and digital desire. This was a time when old media was being replaced by digital systems. \nBrian Boigon did things a bit differently. He did not want it to feel like school. The people who were talking were sitting on stage with drinks. There were a lot of people in the crowd. They were asked to perform or just give a talk. The way it was set up was like a nightclub or a show. This was done on purpose so that people could think about architecture in a way. \nThe Canadian Centre for Architecture is looking at Culture Lab as a way to get people involved. It is like a show that people can participate in. This makes us think about how people talk about design when they’re not in a classroom or office. The Canadian Centre for Architecture exhibition is really about Interactive Entertainment Architecture and how it can be used to get people to think about architecture in a way. \n\nA novel format elaborated to study the world of space\, architecture\, and form through the lens of other disciplines — using the codes of entertainment to break from the confined parochialism of academia.\nCCA Exhibition Description\, 2026 \nProgram\nExhibition Display\nThe exhibition includes some video recordings of the Culture Lab symposia that people have not seen before. These videos are shown on thirty-six screens at once\, which breaks up and puts back together the way the symposium looked originally. The people in these videos include Atom Egoyan\, Elizabeth Grosz\, Rosalind Krauss\, Sanford Kwinter\, Bruce Sterling\, Rem Koolhaas\, Peter Eisenman\, and Liz Diller. \nThe Culture Lab symposia feature four projects by Boigon: Cartoon Regulators\, SpillVille\, Splinters\, and “Speed Reading Tokyo.” All of these projects demonstrate how Boigon worked to design interactive media as an artist\, a data systems designer\, and a design theorist. \nExhibition Opening\nThe exhibition opened on February 26 2026. Brian Boigon talked about the ideas behind the Culture Lab. Then the person who put the exhibition together\, Farzin Lotfi-Jam\, gave a talk about how he chose what to include. The exhibition opened at 5:00 p.m. The talk started at 6:00 p.m. In the Paul-Desmarais Theatre. \n\n\nCredits\nCurator: Farzin Lotfi-Jam\nCuratorial Assistant: Charlie-Anne Côté\nGraphic Design: House9\, Montréal\nSoftware Development: Salim Lounis\nDesign Development: Sébastien Larivière\, Anh Truong\nSupported by the Graham Foundation for Advanced Studies in the Fine Arts\, the Government of Québec\, the Canada Council for the Arts\, and the Conseil des arts de Montréal. The exhibition draws from Brian Boigon’s fonds held in the CCA’s permanent collection. \nAudience\nThe exhibition is for people who study architecture\, history\, and media. It is also for people who work in these fields and are interested in culture and new ways of presenting information. The exhibition is at the CCA. It will be open until August 2026. This means that people who are just curious about architecture and media history can also go and see it. The exhibition is a place for anyone who wants to learn more about the connections between architecture and media history. The architecture researchers and historians\, media theorists\, and practitioners will like it because it is about culture and experimental discourse formats. The general public will like it because it is about the intersections of architecture and media history. \nEvent Details\n\n\n\nExhibition Dates\nFebruary 26 – August 30\, 2026\n\n\nVenue\nOctagonal Gallery\, Canadian Centre for Architecture\, Montreal\, QC\n\n\nEvent Type\nExhibition\n\n\nOpening Hours\nThu: 11 am–9 pm / Fri–Sat: 11 am–6 pm / Sun: 11 am–5 pm\n\n\nAdmission\n$15 adults / $10 seniors and students / Free under 18 / Free Thursdays after 5 pm\n\n\nCurator\nFarzin Lotfi-Jam\, Ithaca\n\n\n\n\n✦ ArchUp Editorial Insight\nThe Culture Lab is important not because of what it says but because of how it says it. It shows that people can talk about architecture in a way like a live show without making it stupid. The CCA decided to show this with a video display with thirty-six channels. This is like the way it was presented\, which is good for people who want to analyze it\, but it might make the atmosphere more important than the actual points being made. The fact that these recordings were not seen for over thirty years makes you wonder how architecture stores its experimental ideas. When places like the CCA find this old material\, are they trying to add to what we know about architecture or just confirm what we already know about the Culture Lab and its significance in the field of architecture? \n\n\nClosing Note\nThe exhibition will be open all the way until the summer of 2026. This is a long time for a show like this. The exhibition is about a series of talks that happened in clubs in Toronto in the 1990s. These talks were really about how digital theory performancec\, performance\, and architecture are all connected. The exhibition might be interesting to people who’re not really into this kind of thing\,g but it depends on how well the big video display can show what made the original talks so important. The digital turn is something that happened a long time ago\, so the exhibition needs to make people understand why it was such a big deal back then. The exhibition is trying to show what the original talks were all about. That is the key to making the exhibition work.
URL:https://archup.net/event/interactive-entertainment-architecture-culture-lab-toronto-1991-1994/
LOCATION:Canadian Centre for Architecture\, 1920\, rue Baile Montréal\, Quebec H3H 2S6\, Quebec\, Quebec\, -\, Canada
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/03/CCA73102_ARCH289768_R.jpg
ORGANIZER;CN="Canadian Centre for Architecture":MAILTO:info@cca.qc.ca
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260305T080000
DTEND;TZID=UTC:20260920T170000
DTSTAMP:20260522T170550
CREATED:20260304T225208Z
LAST-MODIFIED:20260304T225208Z
UID:10001273-1772697600-1789923600@archup.net
SUMMARY:Architecture of Connection
DESCRIPTION:Overview\nThe exhibition at the Austrian Cultural Forum New York titled “Architecture of Connection” is a major solo exhibition dedicated to the work of internationally renowned Austrian architect Dietmar Feichtinger and his studio. Founded in Paris in 1994\, the practice has developed a distinctive architectural approach grounded in structural clarity\, technical precision\, and sustained engagement with public space.\nTheme\nFeichtinger’s work spans bridges\, transportation infrastructure\, educational and cultural institutions\, residential buildings\, and civic projects. His architecture investigates how built environments can function as connective systems—linking people\, places\, and urban contexts. The practice emphasizes visible structural concepts where engineering systems and construction details are integral to the architectural language\, aligning architecture and engineering in a coherent design methodology focused on accessibility\, spatial legibility\, and long-term performance.\nExhibition Details\n\n\n\nItem\nDetails\n\n\nDates\nMarch 5 – September 20\, 2026\n\n\nOpening\nMarch 5\, 2026\, 6:00 PM\n\n\nVenue\nACFNY – Austrian Cultural Forum New York\, 11 E 52nd St\, New York\, NY 10022\, USA\n\n\nOpening Hours\nDaily from 10:00 AM – 6:00 PM\n\n\nOrganizer\nDietmar Feichtinger Architects\n\n\nWebsite\nacfny.org\n\n\n\n✦ ArchUp Editorial Insight\nThe “Architecture of Connection” exhibition at the Austrian Cultural Forum New York showcases the work of renowned Austrian architect Dietmar Feichtinger and his studio. It highlights their distinctive approach that combines structural clarity\, technical precision\, and sustained engagement with public space. Feichtinger’s projects range from bridges and transportation infrastructure to educational\, cultural\, and residential buildings\, emphasizing how built environments function as connective systems linking people\, places\, and urban contexts. The exhibition underlines the integration of architecture and engineering\, focusing on accessibility\, spatial legibility\, and long-term performance.\nHighlights\nThe exhibition features models\, drawings\, films\, and panoramic documentation of completed and ongoing projects. It highlights the collaborative nature of architecture\, acknowledging engineers\, craftsmen\, and clients\, situating design within a broader collective process.\nExplore the Latest Architecture Exhibitions & Conferences\n\n\nArchUp offers daily updates on top global architectural exhibitions\, design conferences\, and professional art and design forums. Follow key architecture competitions\, check official results\, and stay informed through the latest architectural news worldwide. ArchUp is your encyclopedic hub for discovering events and design-driven opportunities across the globe.
URL:https://archup.net/event/architecture-of-connection/
LOCATION:ACFNY Austria Cultural Forum NY\, 11 E 52nd St\, NY 10022\, New York\, NY\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/03/instagram_02.jpg
ORGANIZER;CN="Dietmar Feichtinger Architects":MAILTO:paris@feichtingerarchitects.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260312T080000
DTEND;TZID=UTC:20260630T170000
DTSTAMP:20260522T170550
CREATED:20260219T000408Z
LAST-MODIFIED:20260219T000408Z
UID:10001193-1773302400-1782838800@archup.net
SUMMARY:Core Samples 2026
DESCRIPTION:Overview\nCore Samples 2026 is an architectural exhibition which examines the features of architectural design through examination of various artifacts from research and architectural drawings and material testing. The exhibition displays evidence from the design and construction phase which shows how architects develop their work through experimental and testing processes.\nFocus\nThe exhibition explores architectural development through documented process material\, including:\n\n 	Material research samples and fabrication studies\n 	Conceptual and technical architectural drawings\n 	Structural and assembly mock-ups\n 	Construction fragments and prototype components\n 	Documentation revealing design evolution\n\nThe curatorial approach defines architecture as a research discipline which investigates through testing and hands-on material examination.\nProgramme\nThe programme operates mainly as an exhibition for public viewing within a gallery space yet it can include:\n\n 	Curated installation displays\n 	Research artifact presentations\n 	Interpretive architectural documentation panels\n 	Educational exhibition material explaining design workflows\n\nThe format emphasizes observation and interpretation rather than conferences\, trade booths\, or commercial networking sessions.\nAudience\n\n 	Architects and design professionals\n 	Architecture students and academic researchers\n 	Curators and architectural historians\n 	Museum and gallery visitors interested in design processes\n 	Professionals studying material experimentation and fabrication methods\n\nEvent Details\n\n\n\nItem\nDetails\n\n\nDates\n12 March 2026 — 30 June 2026\n\n\nLocation\nLos Angeles\, California\, United States\n\n\nEvent Type\nArchitecture research exhibition\n\n\nAccess\nPublic exhibition access subject to venue entry policy\n\n\nFees\nTicket price not officially specified; standard museum admission rules may apply\n\n\n\n✦ ArchUp Editorial Insight\nThe research-backed architectural study of Core Samples 2026 demonstrates its findings through building material testing and construction material testing and documentation of building development procedures. The curatorial method helps design professionals understand how design choices develop through design testing and model creation and system testing. The exhibition provides limited value for market networking and construction research but establishes itself as an excellent research tool to study architectural design processes and building construction practices and the different development phases which lead to building completion.\nCritical Conclusion\nThe research-based architectural exhibition Core Samples 2026 presents a research-based architectural exhibition which shows architectural work through its processes and material research and experimental work. The research value of the project comes from its ability to show hidden architectural production processes while showing architecture as an ongoing academic field. The project provides minimal professional contacts and business opportunities yet it delivers important benefits for architectural education and design methodology research.\nExplore the Latest Architecture Exhibitions & Conferences\n\n\nArchUp offers daily updates on top global architectural exhibitions\, design conferences\, and professional art and design forums. Follow key architecture competitions\, check official results\, and stay informed through the latest architectural news worldwide. ArchUp is your encyclopedic hub for discovering events and design-driven opportunities across the globe.
URL:https://archup.net/event/core-samples/
LOCATION:UCLA AUD\, Perloff Hall\, Los Angeles\, CA\, -\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/avif:https://archup.net/wp-content/uploads/2026/02/fwk5rhowgz39hz0r.avif
ORGANIZER;CN="UCLA Architecture and Urban Design":MAILTO:admissions@aud.ucla.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260402T080000
DTEND;TZID=UTC:20260718T170000
DTSTAMP:20260522T170550
CREATED:20260421T162218Z
LAST-MODIFIED:20260421T162218Z
UID:10001409-1775116800-1784394000@archup.net
SUMMARY:Latinitudes: A Collection of Latin American Modern Architecture
DESCRIPTION:Overview\nThe Graham Foundation for Advanced Studies in the Fine Arts presents “Latinitudes: A Collection of Latin American Modern Architecture” at Madlener House in Chicago\, running April 2 through July 18\, 2026. This is the first presentation of the exhibition in the United States\, following a tour that has reached institutions across Latin America and Europe since its São Paulo debut in 2015. \nThe exhibition brings together more than 100 photographs by Brazilian visual artist Leonardo Finotti\, curated by Brazilian architect Michelle Jean de Castro. It surveys modern architecture across twelve Latin American cities\, proposing a horizontal framework for understanding modernism as a shared\, parallel development across the region rather than a series of isolated national stories. It is presented in partnership with the Chicago Architecture Biennial\, selected by Biennial Artistic Director Florencia Rodriguez as a continuation of the CAB’s engagement with Latin American architecture in its SHIFT edition. \nFocus\nThe title combines “latitudes” and “Latin” to propose a geographical and cultural framework for reading Latin American modernism horizontally\, across shared histories and climates\, rather than vertically\, through individual national canons. The exhibition covers housing\, civic\, and cultural buildings by key figures of twentieth-century Latin American modernism\, presenting them within a connected architectural landscape that spans the continent. \nFinotti’s photography is not straightforwardly documentary. Trained as an architect and later at the Bauhaus Foundation in Dessau\, he works at the intersection of architectural photography and independent artistic practice\, producing images that reinterpret rather than merely record the buildings they depict. The exhibition asks viewers to consider how modern architecture emerged in parallel across Latin America and throughout the Americas\, with Chicago\, a city foundational to modern architectural experimentation\, serving as a particularly resonant viewing context. \nCities Represented\nBuenos Aires\, Argentina\nBogotá\, Colombia\nCaracas\, Venezuela\nGuatemala City\, Guatemala\nHavana\, Cuba\nLima\, Peru\nMexico City\, Mexico\nMontevideo\, Uruguay\nQuito\, Ecuador\nSan José\, Costa Rica\nSantiago\, Chile\nSão Paulo\, Brazil\nArchitects Represented\nLuis Barragán\nLina Bo Bardi\nRoberto Burle Marx\nFélix Candela\nEladio Dieste\nEmilio Duhart\nRicardo Legorreta\nPaulo Mendes da Rocha\nOscar Niemeyer\nJuan O’Gorman\nMario Pani\nRicardo Porro\nRogelio Salmona\nClorindo Testa\nCarlos Raúl Villanueva\nCombining the words “latitudes” and “Latin\,” Latinitudes proposes a horizontal framework connecting cities across shared geographies and histories.\nGraham Foundation Exhibition Description\, 2026 \nProgram\nOpening and Talk by Leonardo Finotti\nThe exhibition opens on April 2\, 2026 at 6pm with a talk by photographer Leonardo Finotti. This event offers the primary opportunity to hear from the exhibition’s originating artist on the project’s development and photographic approach over more than a decade. \nTalk by Catherine Seavitt — April 30\n“Military Gardens: Roberto Burle Marx in Brasília” — a talk expanding on the exhibition’s engagement with landscape architect and artist Roberto Burle Marx\, one of the key figures represented in the photographs\, in the specific context of Brasília’s monumental modernist project. \nTalk by Patricio del Real — June 25\n“Constructing Latin America: Architecture\, Politics\, and Race at the Museum of Modern Art” — a talk examining how Latin American architecture has been institutionally framed and exhibited within North American cultural contexts\, a subject with direct relevance to the exhibition’s own first US presentation. \nOrigins and Travel History\nLatinitudes originated as a project of LAMA.SP (Latin American Modern Architecture\, São Paulo)\, an artist-run space co-founded by Michelle Jean de Castro and Leonardo Finotti. First presented in São Paulo in 2015\, accompanied by a book published by Lars Müller (“A Collection of Latin American Modern Architecture\,” 2016)\, the exhibition has since traveled to Bogotá\, Cuenca\, Guadalajara\, Mexico City\, Montevideo\, and Quito. The Chicago presentation at the Graham Foundation is its first US venue\, making it simultaneously a local debut and the culmination of a decade-long international touring history. \nPhotographers and Curator\nLeonardo Finotti is a visual artist based in São Paulo whose work spans modern architectural photography and documentation of anonymous or informal urban spaces. His photographs are held in the collections of MoMA New York\, the Bauhaus Dessau Foundation\, Architekturzentrum Wien\, and other major institutions. He has represented Brazil at two Venice Architecture Biennials. Michelle Jean de Castro is an architect and curator based in Stockholm whose practice focuses on spatial dimensions of memory\, absence\, and displacement. Her curatorial work includes ongoing projects examining Afro-religious diasporic landscapes in Brazil and West Africa. The exhibition is organized at the Graham Foundation by director Sarah Herda and program manager Ava Barrett. \nAudience\nThe exhibition is open to the public at Madlener House. Its primary audience is architects\, historians of design\, curators\, and practitioners interested in Latin American modernism\, architectural photography\, and the politics of how non-Western or non-European architectural traditions are archived and exhibited. The accompanying talk programme extends the exhibition’s reach to academic and research audiences engaged with these questions. \nEvent Details\n\n\n\nExhibition Dates\nApril 2 – July 18\, 2026\n\n\nOpening Event\nApril 2\, 2026\, 6pm — Talk by Leonardo Finotti\n\n\nRelated Talk 1\nApril 30\, 2026 — Catherine Seavitt on Roberto Burle Marx in Brasília\n\n\nRelated Talk 2\nJune 25\, 2026 — Patricio del Real on Latin America at MoMA\n\n\nVenue\nGraham Foundation / Madlener House\, 4 West Burton Place\, Chicago\, Illinois 60610\n\n\nAdmission / Fees\nFree and open to the public (Graham Foundation standard admission policy applies — verify at grahamfoundation.org)\n\n\nPhotographer\nLeonardo Finotti\, São Paulo\n\n\nCurator\nMichelle Jean de Castro\, Stockholm\n\n\nOrganized by\nSarah Herda (Director) and Ava Barrett\, Graham Foundation\n\n\nPartner\nChicago Architecture Biennial\n\n\nContact\ninfo@grahamfoundation.org / +1 312 787 4071\n\n\n\n\n✦ ArchUp Editorial Insight\nWhat makes Latinitudes worth attention beyond its subject matter is its framing proposition: that Latin American modernism should be read horizontally across a shared continental geography rather than as a collection of national stories subordinate to European or North American modernist narratives. This is not a new argument in architectural history\, but presenting it photographically\, across twelve cities\, at an institution whose own history is inseparable from Chicago modernism\, creates a productive friction. Finotti’s photographs are the exhibition’s critical mechanism: trained as an architect and at the Bauhaus\, he is positioned between disciplinary insider and independent artist\, which allows his images to do something different from either pure documentation or pure aesthetic appropriation. The accompanying talk by Patricio del Real\, examining how Latin American architecture has been institutionally framed at MoMA\, is the most intellectually charged element of the programme\, because it directly raises the question of what it means for this exhibition to arrive at an American institution for the first time now. \n\n\nClosing Note\nA decade after its São Paulo debut\, Latinitudes arrives in the United States at a moment when the institutional frameworks for understanding non-Western modernisms are being actively renegotiated. The Graham Foundation’s programme history\, which includes “Architecture of Independence: African Modernism” (2016) and “Every Building in Baghdad: The Rifat Chadirji Archives” (2016)\, positions this exhibition within a sustained curatorial interest in architectural modernisms outside the canonical European and North American lineage. Whether Latinitudes extends that conversation or restates it will depend on how the programme develops across its three-month run.
URL:https://archup.net/event/latinitudes-a-collection-of-latin-american-modern-architecture/
LOCATION:Graham Foundation\, 4 W. Burton Pl.\, Chicago\, IL 60610\, Chicago\, IL\, -\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/04/GF_Latinitudes_LeonardoFinotti_CasaEstudiodeDiegoRiverayFridaKahlo-1024x682-1.jpg
ORGANIZER;CN="Graham Foundation":MAILTO:info@grahamfoundation.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260404T080000
DTEND;TZID=UTC:20260523T170000
DTSTAMP:20260522T170550
CREATED:20260421T212313Z
LAST-MODIFIED:20260421T212313Z
UID:10001411-1775289600-1779555600@archup.net
SUMMARY:Recycle Group: Too Much
DESCRIPTION:Overview\nGalerie Suzanne Tarasieve in Paris presents “TOO MUCH!” by Russian collective Recycle Group\, with invited guests Blue Noses\, running April 4 through May 23\, 2026 at the gallery’s Marais location. The exhibition opened on Saturday April 4 with a vernissage from 6 to 9pm. \nTOO MUCH! is Recycle Group’s fourth solo exhibition at the gallery\, following “Novus Ordo Seclorum” (2016)\, “0.0” (2019)\, and “Expired Reality” (2023). The collective’s practice sits at the intersection of contemporary art and design research\, working with digital structures\, religious iconography\, material excess\, and the relationship between analogue tradition and algorithmic culture. The exhibition includes new works produced specifically for this presentation alongside work from 2025. \nFocus\nThe exhibition takes as its subject the condition of the human being caught in a world of excess: an excess of data\, signals\, meanings\, and of one’s own creations\, which begin to live autonomous lives. The project’s central phenomenon is the work that outgrows its author\, from ancient myths to contemporary digital structures that reshape reality faster than human perception can follow. \nRecycle Group positions artificial intelligence not as a new phenomenon but as the latest iteration of a recurring human predicament: the cultural form that escapes its creator and becomes an autonomous force. This framing connects the exhibition to a longer arc of civilizational anxiety about making things too powerful to control\, from Frankenstein to the Golem to contemporary machine learning systems. \nThe collaborative element with Blue Noses adds what the press release describes as a precise and ironic accent\, revealing the fragility of perception and the inherent absurdity of attempts to keep everything under control. The overall register of the exhibition is described as “punk classicism\,” a phrase that captures the collision between archaic material languages (burned wood\, carved inscription\, sacred text) and the vocabulary of digital design and overloaded information systems. \nTOO MUCH is a space of punk classicism and digital structures\, where the human being tries to preserve itself in a world that has long since become more than it can contain.\nRecycle Group / Galerie Suzanne Tarasieve\, Press Release\, 2026 \nWorks\nBurn Series (2026)\nThe exhibition’s anchor works are large-scale pieces in burned wood\, polyurethane resin\, silicone\, and LED light. “Burn” (200 x 200 cm) is the largest\, presenting a surface of cracked\, scorched wood covered in incandescent writing drawn from nine languages simultaneously: Latin\, Italian\, French\, German\, Russian\, Greek\, Arabic\, Japanese\, and English. The words are fragmentary\, incomplete\, blending into one another to form a polyglot palimpsest. The assembled texts circle around a single idea from Ecclesiastes 1:18: “For in much wisdom is much grief\, and he that increaseth knowledge increaseth sorrow.” The work enacts its subject directly: it is Too Much made literal\, a universal warning about excess rendered nearly unreadable by its own density. “Message 1:13-18” (60 x 60 cm) and “I still have many things to say to you\, but you cannot bear them now” (60 x 90 cm) are smaller panels in the same material language. \nInformation Jungle Series (2026)\nThree large sculptural works in thermoformed plastic mesh\, “Information Jungle 2.0\,” “3.0\,” and “4.0” (each 210 x 110 x 40 cm)\, extend the excess theme into three-dimensional form. The mesh structures function as physical analogues of information overload: dense\, layered\, partially transparent\, simultaneously structural and entrapping. \nResistance from AI (2025)\nA four-panel installation in thermoformed plastic mesh (220 x 470 x 75 cm total) representing the resistance\, or attempted resistance\, to AI’s autonomous development. The work’s physical form\, a barrier-like mesh that is both permeable and obstructing\, embodies the ambiguity of that resistance. \n3D Print Series (2025)\n“Madonna” (30 x 30 cm) and “All Saints. Vortex” (30 x 60 cm)\, both in 3D-printed recycled plastic with LED lighting\, continue the collective’s practice of reprocessing religious iconography through digital fabrication techniques\, placing sacred imagery within a material and production context that is entirely contemporary. \nThe Blue Noses Collaboration\nBlue Noses is a Russian conceptual art duo known for their ironic\, often absurdist engagement with political and cultural symbols. Their presence in the exhibition functions as a counterweight to Recycle Group’s more technically elaborate and materially dense practice\, introducing irreverence and humour as analytical tools for examining the same conditions of excess and loss of control. \nReference: Das Rheingold in Salzburg\nThe press release draws a direct parallel between the exhibition and the Salzburg production of Wagner’s Das Rheingold directed by Kirill Serebrennikov\, running almost simultaneously. The connection is conceptual: a classical work that demonstrates its capacity to exist as a self-sustaining entity and to project an image of the future pushed to absurdity\, a world governed by human fantasies and their consequences. This serves as a mirror to the exhibition’s central argument about autonomous creations. \nAudience\nThe exhibition is open to the general public at Galerie Suzanne Tarasieve\, Tuesday through Saturday\, 11am to 7pm. It addresses a broad art and design audience interested in contemporary media critique\, the intersection of spatial and material practice with digital culture\, and the use of religious and classical references as frameworks for understanding technological transformation. \nEvent Details\n\n\n\nExhibition Dates\nApril 4 – May 23\, 2026\n\n\nOpening\nSaturday April 4\, 2026\, 6–9pm\n\n\nVenue\nGalerie Suzanne Tarasieve\, 7 rue Pastourelle\, 75003 Paris (Marais)\n\n\nHours\nTuesday–Saturday\, 11am–7pm\n\n\nAdmission / Fees\nFree entry (standard gallery admission)\n\n\nArtists\nRecycle Group\, with invited guests Blue Noses\n\n\nGallery\nGalerie Suzanne Tarasieve\n\n\nContact\ninfo@suzanne-tarasieve.com / +33 (0)1 42 71 76 54\n\n\n\n\n✦ ArchUp Editorial Insight\nRecycle Group’s practice has been consistent enough across four exhibitions at this gallery to make the thematic framing of TOO MUCH! feel like a continuation rather than a departure: the collective has long worked at the intersection of digital excess and archaic material form. What is sharper in this exhibition is the specificity of the AI argument\, which avoids both utopian and dystopian clichés by positioning artificial intelligence within a much older pattern of creations that outgrow their creators. The Ecclesiastes citation is not decoration; it is the conceptual core\, and the decision to render it in nine languages simultaneously\, in burned wood\, nearly illegible\, is a precise material decision. The warning against excess is itself presented in excess. The collaboration with Blue Noses introduces a necessary tonal counterweight: irony and absurdism are better analytical instruments for this subject than solemnity\, and their inclusion prevents the exhibition from mistaking its own gravity for insight. \n\n\nClosing Note\nTOO MUCH! runs through the end of May 2026\, giving it a seven-week window in one of Paris’s most active gallery districts. For those interested in how contemporary art engages with questions of digital culture\, material memory\, and the limits of human comprehension\, the exhibition offers a carefully constructed argument in object form. The press release’s description of the show as “punk classicism” is the most useful single phrase for understanding what Recycle Group is attempting here.
URL:https://archup.net/event/recycle-group-too-much/
LOCATION:Galerie Suzanne Tarasieve\, 7 rue Pastourelle 75003 PARIS\, Paris\, Paris\, -\, France
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/webp:https://archup.net/wp-content/uploads/2026/04/2026-Hube-spread-scaled.webp
ORGANIZER;CN="Suzanne Tarasieve":MAILTO:info@suzanne-tarasieve.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260409T080000
DTEND;TZID=UTC:20260928T170000
DTSTAMP:20260522T170550
CREATED:20260421T235332Z
LAST-MODIFIED:20260421T235332Z
UID:10001413-1775721600-1790614800@archup.net
SUMMARY:Cao Fei: Dash
DESCRIPTION:Overview\nFondazione Prada presents “Dash\,” a new multimedia project by Chinese artist Cao Fei\, at its Milan headquarters from April 9 to September 28\, 2026. The exhibition occupies the ground floor and first floor of the Podium\, Fondazione Prada’s central exhibition building designed by OMA. It is produced by Fondazione Prada in close collaboration with the artist and represents the culmination of three years of fieldwork across southern and northwestern China and Southeast Asia. \nThe title refers to the high-frequency sound of a drone in flight: that precise\, autonomous buzz of a machine operating at the edge of human grasp. Cao Fei positions this sound as the sonic signature of a technological moment in which the tools of agriculture\, and by extension of subsistence itself\, are being fundamentally reorganised by automation\, artificial intelligence\, and remote sensing systems. The exhibition is accompanied by an illustrated catalogue published by Fondazione Prada\, with a foreword by Miuccia Prada\, a conversation between Cao Fei and Rem Koolhaas\, a science fiction story by the artist\, and essays by scholars\, curators\, and experts. \nFocus\nDash examines smart agriculture not as a solution to planetary crisis but as a dense field of contradictions\, where automation promises efficiency while quietly rewriting labour\, memory\, and the relationship between humans and land. The exhibition’s conceptual framework is organised around a diagram Cao Fei calls CHT Triad: Cosmos\, Human\, Technics\, which proposes a non-hierarchical relationship in which technology is a co-author of human becoming rather than a tool in human hands. \nThe project builds on Cao Fei’s two-decade inquiry into technological modernity’s effects on Chinese society\, moving from factories and logistics networks (as in “Whose Utopia\,” 2006\, and “Asia One\,” 2018) to agriculture\, the oldest and most foundational form of human relationship with land. The shift is not merely thematic. Smart farming is among the most consequential technological transformations of this century\, affecting food security\, land use\, labour markets\, ecological systems\, and the cultural fabric of rural communities globally\, yet it has been almost entirely absent from contemporary art discourse. \nCao Fei’s central provocation is drawn from an observation at a Chinese super farm in 2023: there were virtually no humans in the fields. In their place were drones\, autonomous vehicles\, and automated irrigation and harvesting systems. That condition\, she notes\, is not a future projection but an already existing present. \nHere\, satellite positioning systems converse with ritual geographies; artificial intelligence and traditional experience train one another; historical images and sensor signals generate visual resonance.\nCao Fei\, Exhibition Statement\, 2026 \nExhibition Structure\nGround Floor: The Agricultural Environment\nThe ground floor constructs a full-scale rural environment inside the Podium. A grain warehouse functions as a cinema screening the eponymous two-channel video “Dash” (47 min.). A temple built from fertilizer sacks houses three-channel video “The Birth\,” which documents the everyday reverence farmers across Southeast Asia extend to their agricultural drones\, offering flowers\, incense\, and ceremonies once reserved for rain deities. A new farmer’s training station and a banana plantation surrounded by solar panels\, smart agricultural machinery\, and autonomous vehicles complete the floor. The installation structures were developed by Small Production; banners and cushions were designed by Xiang Gao. \nThe temple built from industrial waste packaging is the exhibition’s most precise formal decision: sacred and industrial occupy the same physical object. The videos inside show that this is not ironic or critical from a distance but an accurate description of lived agricultural reality in regions where harvests determine survival. \nFirst Floor: Research and Archive\nThe first floor shifts from immersive environment to research archive. Documentary films\, photographs\, propaganda posters from the founding decades of the People’s Republic of China (1949 to 1980s)\, scientific and educational slides from the Reform and Opening-up era (1978 onwards)\, and Chinese folk records titled “Busy Farming” situate Cao Fei’s investigation within a broader historical and ideological context. \n“Land Ceremony\,” which greets visitors on this floor\, makes the continuity between ancient ritual and technological present physical: constructed from local Lombard rice and traditional folk materials decorated with drone components\, it draws directly on the ancient Chinese “rice dragon” ritual. The argument of the floor is that China’s current investment in agricultural technology is not a rupture from its history but a continuation of it. \nKey Works\n\nDash\, 2026Two-channel video\, colour\, sound\, 47 min. Produced by Fondazione Prada.\nThe Birth\, 2026Three-channel looped video with altar\, fertilizer sacks\, and XAG agricultural drone. Temple installation.\nDash-180cVirtual reality work placing the viewer inside the perspective of a discarded drone.\nSouthward Journey\, 2026Single-channel video\, colour\, sound\, 30 min.\nSuper Farms\, 2026Single-channel video documenting fully automated Chinese agricultural operations.\nLand Ceremony\, 2026Installation in Lombard rice and folk materials with drone components. First floor.\n\nCatalogue and Conversations\nThe exhibition catalogue is designed by graphic artist Evi O and published by Fondazione Prada. It includes an introduction by Miuccia Prada; a conversation between Cao Fei and Rem Koolhaas\, whose OMA has developed extensive research on countryside since 2012; a science fiction story by Cao Fei; and essays and interviews with scholars\, curators\, and experts. The Koolhaas conversation is a significant pairing: his countryside research and the broader OMA investigation of rural land transformation provide a direct intellectual counterpart to Cao Fei’s fieldwork methodology. \nAudience\nThe exhibition is open to the general public at Fondazione Prada’s Milan venue. It addresses audiences spanning contemporary art\, architecture\, design research\, technology studies\, and agricultural policy. Its five-month run gives it an extended presence in Milan’s cultural calendar\, overlapping with the city’s major design and architecture events in spring and summer 2026. \nEvent Details\n\n\n\nExhibition Dates\nApril 9 – September 28\, 2026\n\n\nVenue\nFondazione Prada\, Podium (ground and first floors)\, Largo Isarco 2\, Milan 20139\, Italy\n\n\nAdmission / Fees\nStandard Fondazione Prada admission applies — verify current pricing at fondazioneprada.org\n\n\nArtist\nCao Fei (Beijing\, China)\n\n\nRepresented by\nVitamin Creative Space; Sprüth Magers\n\n\nProduced by\nFondazione Prada\n\n\nInstallation Design\nSmall Production\n\n\nCatalogue Design\nEvi O\n\n\nCatalogue Includes\nIntroduction by Miuccia Prada; conversation between Cao Fei and Rem Koolhaas; science fiction story by Cao Fei; critical essays\n\n\nResearch Partner\nXAG (agricultural robotics company\, China)\n\n\n\n\n✦ ArchUp Editorial Insight\nDash is architecturally significant not as an exhibition about architecture but as one that takes the transformation of landscape\, land use\, and the built rural environment as its primary subject. The Podium at Fondazione Prada\, itself an OMA building\, hosts full-scale reproductions of grain warehouses\, temples\, and farming stations\, creating a space where the built environment and its technological reconfiguration are examined from inside. The Rem Koolhaas catalogue conversation is the clearest signal of this framing: his OMA countryside research and Cao Fei’s agricultural fieldwork share a subject and a methodology\, though they arrive from different disciplines. The exhibition’s most honest moment may be the temple built from fertilizer bags\, which refuses the comfortable separation between the sacred and the industrial that most cultural institutions maintain. Smart farming is reshaping land at a global scale; the fact that it has taken this long to enter the exhibition space is itself a form of institutional blindness that Dash implicitly names. \n\n\nClosing Note\nCao Fei has spent three years in fields across China and Southeast Asia to make this exhibition. That investment of time and direct research is visible in the specificity of the work and distinguishes Dash from exhibitions that take technology as a theme without engaging its actual material conditions. Running through September 2026\, it is among the most substantively researched solo presentations of the year in Europe\, and the most direct engagement with agricultural transformation as a subject for contemporary art practice.
URL:https://archup.net/event/dash/
LOCATION:Prada Foundation\, Largo Isarco\, 2 20139 Milan\, Milan\, Milan\, -\, Italy
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/avif:https://archup.net/wp-content/uploads/2026/04/472286.avif
ORGANIZER;CN="Fondazione Prada":MAILTO:info@fondazioneprada.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260410T080000
DTEND;TZID=UTC:20260612T170000
DTSTAMP:20260522T170550
CREATED:20260423T173351Z
LAST-MODIFIED:20260423T173411Z
UID:10001417-1775808000-1781283600@archup.net
SUMMARY:Desire to Create: Baťa's Architecture of Belonging 2026
DESCRIPTION:Overview\nDesire to Create: Baťa’s Architecture of Belonging is an exhibition in London at the Czech Centre’s Vitrínka Gallery. It examines the relationship between industrial planning\, housing\, and community design through the legacy of Tomáš Baťa and the East Tilbury settlement in Essex. The event sits within architecture\, urban history\, and design culture. \nFocus\nThe exhibition focuses on how corporate vision can shape the built environment. It studies modernist planning\, worker housing\, civic identity\, and the integration of labour with daily life. It also raises questions about whether employer-led urban models create genuine community or controlled environments. \nArchitecture here is presented not only as buildings\, but as a system of social organisation. \nProgram\nThe program includes a public exhibition with architectural drawings\, historical photographs\, and archival artefacts related to Baťa’s planning model. It traces the translation of business principles into physical space\, from urban planning to domestic life. A related panel discussion titled Designed to Belong expands the debate around modernism\, industry\, and belonging. \nAudience\nThis event is relevant to architects\, urban researchers\, preservation specialists\, students\, and visitors interested in the political role of design and planned communities. \nEvent Details\n\n\n\nDates\n10 April 2026 to 12 June 2026\n\n\nVenue\nVitrínka Gallery\, Czech Centre London\, 30 Kensington Palace Gardens\, London W8 4QY\n\n\nEvent Type\nExhibition\n\n\nAccess\nPublic\n\n\nFees\nFree\n\n\n\n✦ ArchUp Editorial Insight\nThe exhibition is strongest when read as a case study in paternalistic modernism. Baťa’s model linked welfare\, efficiency\, and spatial order\, but such systems often blur the line between community care and behavioural control. For architects\, the project remains relevant because many contemporary masterplans still promise belonging through centrally managed environments. \nClosing Note\nRather than focusing on iconic buildings\, this event positions architecture as an instrument of economic and social planning\, giving it broader relevance than a standard historical exhibition.
URL:https://archup.net/event/desire-to-create-batas-architecture-of-belonging-2026/
LOCATION:Vitrinka Gallery\, Czech Centre\, 30 Kensington Palace Gardens\, London\, London\, -\, United Kingdom
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/04/4f44b16930c96e3b868397657f54cccc.jpg
ORGANIZER;CN="Veronika Blues":MAILTO:info@czechcentre.org.uk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260410T080000
DTEND;TZID=UTC:20260802T170000
DTSTAMP:20260522T170550
CREATED:20260422T170012Z
LAST-MODIFIED:20260422T170012Z
UID:10001415-1775808000-1785690000@archup.net
SUMMARY:Isamu Noguchi: ‘I am not a designer’
DESCRIPTION:Overview\nThe High Museum of Art in Atlanta presents “Isamu Noguchi: I am not a designer\,” the artist’s first design retrospective in nearly twenty-five years\, running April 10 through August 2\, 2026. Featuring nearly two hundred objects\, many never or rarely exhibited\, the exhibition spans all facets of Noguchi’s creative output across architecture\, industrial design\, ceramics\, furniture\, lighting\, stage sets\, and landscape design. \nThe exhibition is organized by the High Museum of Art and will travel following its Atlanta run to the Peabody Essex Museum in Salem\, Massachusetts (September 19\, 2026 through January 3\, 2027) and the Memorial Art Gallery at the University of Rochester in Rochester\, New York (February 13 through June 6\, 2027). The Atlanta presentation also coincides with the fiftieth anniversary of “Playscapes\,” a bicentennial gift for the city of Atlanta that Noguchi created in 1976\, commissioned by the High in collaboration with the City of Atlanta Parks Department and the only one of Noguchi’s playgrounds built in the United States during his lifetime. \nFocus\nThe exhibition takes its title from Noguchi’s own declaration in 1949 and uses it as a productive paradox: despite his insistence that he was not a designer\, Noguchi spent his career regularly engaging with the space-shaping possibilities of design. The retrospective reframes this tension as evidence of his resistance to disciplinary categorisation rather than contradiction\, presenting him as a multinational\, interdisciplinary artist who moved between sculpture\, architecture\, furniture\, landscape\, and performance design as a single continuous practice. \nThe presentation emphasises works that embrace function\, explicitly positioning functional objects not as secondary to Noguchi’s sculptural practice but as integral to it. His Akari paper lanterns\, his furniture for Herman Miller and Knoll\, his stage sets for Martha Graham\, his unrealised public space proposals\, and his built playgrounds and gardens are treated as equally significant expressions of a unified sensibility that consistently sought to bring sculpture into everyday life and public space. \nAlthough Isamu Noguchi declared in 1949\, “I am not a designer\,” the internationally acclaimed artist regularly engaged with the space-shaping possibilities of design\, imagining and producing work in architecture\, industrial design\, ceramics\, furniture\, lighting\, stage sets\, and landscape design.\nHigh Museum of Art\, Exhibition Description\, 2026 \nExhibition Highlights\n\nPlay Mountain plaster model (1933)Recently rediscovered sculptural model for an unrealised public playground proposal.\nAkari (model 1A)\, ca. 1954Natural mulberry paper with bamboo and metal frame. From the High’s permanent collection.\nSeraphic Dialogue stage set (1955)Large-scale installation recreating Noguchi’s set design for Martha Graham’s choreography.\nTables and stools for Herman Miller and KnollIndustrial design objects produced in collaboration with major American manufacturers.\nHouse model with Kazumi AdachiArchitectural collaboration with Japanese architect Kazumi Adachi.\nPlayscapes play equipmentOne of Noguchi’s innovative playground installations\, coinciding with the 50th anniversary of the Atlanta Playscapes.\nCommissioned filmNew film documenting some of Noguchi’s site-specific plazas and gardens around the world.\nUnrealised project modelsSculptural models for unbuilt proposals\, including recently rediscovered plasters.\n\nPlayscapes at 50\nA significant local context for the Atlanta exhibition is the fiftieth anniversary of Playscapes in Piedmont Park\, which Noguchi created in 1976 as a bicentennial gift to the city of Atlanta. Commissioned by the High in collaboration with the City of Atlanta Parks Department\, it remains the only one of Noguchi’s playgrounds built in the United States during his lifetime\, making it one of the most significant pieces of landscape architecture in the city and a direct local complement to the exhibition’s themes of public space\, play\, and the integration of art into everyday urban life. \nRelated Events\nAn opening weekend party takes place on April 11\, 2026 from 6 to 10pm\, with after-hours access to the exhibition and a VIP YP member lounge. “Illuminating Noguchi @ the High” on April 23\, 2026 (6 to 9pm) is an evening event centred on Noguchi’s Akari paper lanterns\, expanding their spirit from the museum into the city. A member exhibition tour takes place May 21\, 2026 from 2 to 3pm. \nAudience\nThe exhibition is open to the general public at the High Museum of Art. Its combination of sculpture\, furniture\, stage design\, playground equipment\, and architectural models makes it relevant to audiences spanning fine art\, design history\, architecture\, urban landscape\, and material culture. The nearly two hundred objects and the inclusion of large-scale installations\, a commissioned film\, and interactive elements signal a presentation designed for extended engagement rather than a rapid survey. \nEvent Details\n\n\n\nDates (Atlanta)\nApril 10 – August 2\, 2026\n\n\nVenue\nHigh Museum of Art\, 1280 Peachtree St NE\, Atlanta\, GA 30309\n\n\nHours\nVerify current hours at high.org\n\n\nAdmission / Fees\nTimed tickets required — purchase via high.org. High members free. General admission applies.\n\n\nObjects\nNearly 200\, many never or rarely exhibited\n\n\nOrganized by\nHigh Museum of Art\, Atlanta\n\n\nTour Venues\nPeabody Essex Museum\, Salem MA (Sep 19\, 2026 – Jan 3\, 2027); Memorial Art Gallery\, University of Rochester\, NY (Feb 13 – Jun 6\, 2027)\n\n\nPresenting Sponsor\nBank of America\n\n\nMajor Funders\nTerra Foundation for American Art; Henry Luce Foundation; Forward Arts Foundation; Graham Foundation for Advanced Studies in the Fine Arts\n\n\nPublication Support\nWyeth Foundation for American Art\n\n\nContact\n+1 404-733-4400\n\n\n\n\n✦ ArchUp Editorial Insight\nNoguchi’s declaration “I am not a designer” is one of the more productively unstable statements in twentieth-century art history\, and the High’s decision to use it as the exhibition title rather than resolve it is the right curatorial call. What the retrospective implicitly argues is that the distinction between art and design\, between sculpture and furniture\, between monument and playground\, was not a hierarchy Noguchi accepted. His Akari lamps are sculptures that light rooms; his stage sets for Martha Graham are spatial compositions that happen to serve choreography; his playgrounds are public sculptures that accept use as a condition rather than a compromise. The fifty-year anniversary of Playscapes in Atlanta makes this the most site-appropriate version of the exhibition it could receive: visitors can see the unrealised plaster for Play Mountain in the gallery\, then walk to Piedmont Park and stand in one of the few places where Noguchi’s vision of democratic public space was actually built. That pairing is more instructive than any interpretive text. \n\n\nClosing Note\nNearly two hundred objects across architecture\, furniture\, ceramics\, stage design\, lighting\, and landscape make this the most comprehensive examination of Noguchi’s cross-disciplinary practice since the 1990s. Its touring itinerary\, across Atlanta\, Salem\, and Rochester\, will give it reach beyond the major coastal museum circuit and place it in front of audiences with specific interests in American art\, design history\, and the regional landscape of public works that Noguchi’s practice helped shape.
URL:https://archup.net/event/isamu-noguchi-i-am-not-a-designer/
LOCATION:High Museum of Art\, High Museum of Art 1280 Peachtree St NE Atlanta\, GA 30309\, Atlanta\, Atlanta\, -\, Georgia
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/04/Isamu-Noguchi-‘I-am-not-a-designer-designboom-600.jpg
ORGANIZER;CN="High Museum of Art":MAILTO:access@high.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260415T080000
DTEND;TZID=UTC:20260816T170000
DTSTAMP:20260522T170550
CREATED:20260423T184235Z
LAST-MODIFIED:20260423T184235Z
UID:10001421-1776240000-1786899600@archup.net
SUMMARY:Calder. Rêver en équilibre 2026
DESCRIPTION:Overview\nCalder. Rêver en équilibre is an exhibition held at the Fondation Louis Vuitton in Paris. It is dedicated to the work of Alexander Calder and explores his practice across sculpture\, movement\, and spatial composition. The exhibition is staged within the architectural framework of the museum\, making the building itself part of the curatorial experience. \nThe show situates Calder within broader discussions of architecture and spatial perception\, where exhibition design becomes an extension of built form rather than a neutral container. \nFocus\nThe exhibition focuses on Calder’s exploration of movement\, balance\, and abstraction. It highlights his mobiles and stabiles as systems that respond to gravity\, air\, and spatial tension. Rather than treating sculpture as static object\, the display emphasizes continuous motion and instability as core design principles. \nIt also positions his work within modern artistic networks\, connecting sculpture to painting\, drawing\, and performance-based approaches to space. \nCalder’s work reframes sculpture as an active spatial condition rather than a fixed object in space. \nProgram\nThe program presents a chronological selection of Calder’s works\, including early wire sculptures\, mobiles\, large-scale installations\, and drawings. The exhibition also integrates archival material and works from contemporaries\, creating a broader contextual reading of modernism. \nThe spatial layout interacts directly with the museum architecture\, turning circulation paths into part of the exhibition experience. This relationship extends the discussion into broader ideas of design as an environmental system rather than isolated objects. \nAudience\nThe exhibition is aimed at the general public\, researchers\, designers\, and architects interested in modern sculpture\, kinetic systems\, and spatial experimentation. \nEvent Details\n\n\n\nDates\n15 April 2026 – 16 August 2026\n\n\nVenue\nFondation Louis Vuitton\, Paris\n\n\nEvent Type\nArt and design exhibition\n\n\nAccess\nPublic\n\n\nFees\n€0 – €32 depending on ticket type\n\n\n\n✦ ArchUp Editorial Insight\nThe exhibition positions Calder’s work within a controlled institutional environment where spatial choreography becomes as important as the artworks themselves. While the presentation emphasizes movement and openness\, the museum framework still defines strict circulation and viewing hierarchies. This creates a tension between the fluidity of Calder’s kinetic objects and the fixed architectural system that contains them. From an architectural perspective\, the exhibition highlights how contemporary cultural institutions increasingly rely on immersive spatial design to construct meaning\, rather than allowing artworks to exist independently of their environment. The result is a curated experience where architecture and exhibition design merge into a single interpretive system\, raising questions about authorship and spatial control. \nClosing Note\nThe exhibition reinforces Calder’s relevance to spatial thinking today\, particularly in how movement\, balance\, and instability can be understood as architectural conditions rather than purely sculptural concerns.
URL:https://archup.net/event/calder-rever-en-equilibre-2026/
LOCATION:8 Mahatma Gandhi Avenue\, Bois de Boulogne\, 75116 Paris\, Paris\, Paris\, -\, France
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/webp:https://archup.net/wp-content/uploads/2026/04/9791020410641_calderreverenequilibre_2026.webp
ORGANIZER;CN="Fondation Louis Vuitton":MAILTO:contact@fondationlouisvuitton.fr
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260416T110000
DTEND;TZID=UTC:20260907T190000
DTSTAMP:20260522T170550
CREATED:20260425T215354Z
LAST-MODIFIED:20260425T215354Z
UID:10001423-1776337200-1788807600@archup.net
SUMMARY:William Kentridge: The Battle Between YES and NO 2026
DESCRIPTION:Overview\nWilliam Kentridge: The Battle Between YES and NO is a major exhibition at Kunsthalle Praha in Prague. It is the first large-scale presentation of the artist in the Czech Republic. The exhibition brings together drawing\, animation\, film\, sculpture\, and installation within a single spatial narrative that reflects his multidisciplinary approach. \nThe project is positioned within broader discussions of architecture as it transforms the gallery into a structured environment where movement and perception become part of the exhibition itself. \nFocus\nThe exhibition focuses on William Kentridge’s long-term exploration of political history\, memory\, and contradiction. His work often combines fragmented narratives and shifting meanings\, especially through animated drawing and erased image sequences. \nRather than presenting fixed interpretations\, the exhibition highlights uncertainty and ambiguity as central visual strategies\, linking it conceptually to experimental approaches in design. \nThe exhibition treats contradiction not as conflict to be resolved\, but as a structural condition of perception. \nProgram\nThe program includes early animated works from the Drawings for Projection series\, large installations\, kinetic models\, and recent video works. It also introduces site-specific material created for Prague. \nThe exhibition layout functions as a spatial sequence where movement becomes part of interpretation\, a condition often discussed in urban planning when temporary cultural systems reshape spatial experience. \nAudience\nThe exhibition is aimed at the general public\, researchers\, and professionals in art\, architecture\, and visual culture. \nEvent Details\n\n\n\nDates\n16 April 2026 – 7 September 2026\n\n\nVenue\nKunsthalle Praha\, Prague\n\n\nEvent Type\nContemporary art exhibition\n\n\nAccess\nPublic\n\n\nFees\nFrom approx. 160 CZK – 320 CZK\n\n\n\n✦ ArchUp Editorial Insight\nThe exhibition constructs a controlled narrative space where Kentridge’s fragmented visual language is translated into a curated architectural environment. While the works emphasize instability\, memory\, and contradiction\, the exhibition design imposes a linear spatial sequence that guides interpretation. This creates a tension between the openness of the artistic process and the fixed logic of institutional display. From an architectural perspective\, the project demonstrates how contemporary exhibitions increasingly operate as spatial systems that mediate perception rather than simply presenting objects. The gallery becomes an active framework that organizes meaning through movement\, framing\, and controlled visibility. \nClosing Note\nThe exhibition reinforces Kentridge’s position as an artist whose work directly engages with spatial thinking\, where narrative\, movement\, and structure intersect within the exhibition environment.
URL:https://archup.net/event/william-kentridge-the-battle-between-yes-and-no-2026/
LOCATION:Kunsthalle Praha\, Klárov 5 118 00\, Prague 1\, Prague\, Prague\, -\, Czech Republic
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/04/William-Kentridge.jpg
ORGANIZER;CN="Kunsthalle Praha":MAILTO:info@kunsthallepraha.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260420T080000
DTEND;TZID=UTC:20260726T170000
DTSTAMP:20260522T170550
CREATED:20260228T221643Z
LAST-MODIFIED:20260228T221643Z
UID:10001233-1776672000-1785085200@archup.net
SUMMARY:OBJECTILE ADVENTURES: THE FLOOR – Banham Fellow Exhibition 2026
DESCRIPTION:Overview\nThe UB School of Architecture and Planning presents “OBJECTILE ADVENTURES: THE FLOOR” as part of its Spring 2026 Public Programs. The exhibition opening will take place on Monday\, April 20\, 2026\, at 5:00 PM in the Hayes Hall Atrium\, UB South Campus. \nThe installation forms part of a public program series which presents scholarly research and architectural work through live presentations and exhibitions to explore current developments in architectural design and material science. \nConcept\nThe installation introduces “Objectiles” — object-projectiles — discarded building materials that travel across time and space collecting new uses. Objectiles maintain their original function through physical changes which display all the different things they have experienced and tested. \nThe current version of Objectiles demonstrates their ability to act as “floor” while they stop moving. Traditional construction systems use mass production methods to create floors which builders want to be unnoticeable through their flat and neutral appearance. However\, Objectiles refuse to maintain a position of neutrality. The floor design which assumes a flat surface will create another way for people to interact with the space through its slopes and hinges and ridges and points where it lifts or supports weight. \nInstallation Experience\nThe Objectiled floor requires users to combine their negotiation abilities with their imaginative skills to traverse its surface. The installation shows visitors its irregular surface which consists of different materials and invites them to think about how materials undergo transformation and reuse throughout time. Users create new traces which become part of the Objectiles ongoing story that will continue to exist in upcoming times. \nThe project tests a design method centered on reused building materials and storytelling\, exploring how narratives and aesthetic sensibilities can shift us away from a linear material economy toward more circular practices within design and construction culture. \nResearch Background\nThe installation developed by 2025–26 Banham Fellow Celia Chaussabel represents an ongoing research project which began in 2021. Previous explorations included graphic novels\, animations\, and video games tracing the trajectories of materials and the people and sites entangled in their movement. \nThe research extends to architectural installation research through its investigation of how reused materials create different storytelling methods which transform architectural spaces through their design. \nExhibition Details\n\n\n\nOpening Reception\nApril 20\, 2026 – 5:00 PM\n\n\nExhibition Dates\nApril 20 – July 26\, 2026\n\n\nGallery Hours\n9:00 AM – 4:30 PM\n\n\nLocation\nHayes Hall\, 1st Floor\, UB South Campus\, 250 Hayes Rd\, Buffalo\, NY 14214\, USA\n\n\nFormat\nIn-person and remote access via Zoom\n\n\nCurator\nCelia Chaussabel\, 2025–26 Banham Fellow\n\n\nEntry Fees\nFree\n\n\nOrganizer\nUB School of Architecture and Planning\n\n\n\n✦ ArchUp Editorial Insight\nThe documentary “OBJECTILE ADVENTURES: THE FLOOR” defines reuse through its application as a spatial design element and a method of storytelling. The installation challenges standard construction practices by its implementation of nontraditional flooring systems which disrupt the expected architectural design elements. The research demonstrates its value through its ability to create a complete functional space which people can use. The project design focuses on storytelling while it limits both environmental assessment methods and architectural development of new structural designs. The project presents itself as a design experiment that critiques traditional material usage through architectural design because it reuses materials in a way that connects to cultural traditions instead of standard construction methods. \nFinal Statement\nThe installation of “OBJECTILE ADVENTURES: THE FLOOR” uses abandoned materials to create areas that communicate stories through their design which reflects memory and material history and the ongoing transformation of materials. \nExplore the Latest Architecture Exhibitions & Conferences\n\n\n\nArchUp offers daily updates on top global architectural exhibitions\, design conferences\, and professional art and design forums. Follow key architecture competitions\, check official results\, and stay informed through the latest architectural news worldwide. ArchUp is your encyclopedic hub for discovering events and design-driven opportunities across the globe.
URL:https://archup.net/event/objectile-adventures-the-floor-banham-fellow-exhibition-2026/
LOCATION:Hayes Hall\, 1st Floor UB South Campus 250 Hayes Rd Buffalo\, NY 14214\, New York\, NY\, -\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/png:https://archup.net/wp-content/uploads/2026/02/ub-logo-two-line.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260422T080000
DTEND;TZID=UTC:20261018T170000
DTSTAMP:20260522T170550
CREATED:20260326T203127Z
LAST-MODIFIED:20260326T203127Z
UID:10001333-1776844800-1792342800@archup.net
SUMMARY:CONVIVIUM: Food Systems at the Limit 2026
DESCRIPTION:Overview\nThe Architekturmuseum der TUM (Architecture Museum of the Technical University of Munich) is presenting CONVIVIUM: Food Systems at the Limit\, a major exhibition exploring the spatial\, architectural\, and territorial dimensions of global food production. The exhibition opens on April 23\, 2026\, and runs through October 18\, 2026\, at the Pinakothek der Moderne in Munich\, Germany. It belongs to the fields of architecture\, landscape\, urban design\, and environmental research. \nFocus\nThe exhibition examines how the global food system operates as a spatial and infrastructural network\, and how it is approaching multiple simultaneous limits: ecological\, climatic\, political\, and economic. It investigates the built environments of food production\, from high-tech Dutch greenhouses and industrial dairy farms to aquaculture facilities\, grain silos\, and the contested territorial landscapes of soy production and deforestation. \nFor those tracking how architecture engages with agriculture and urban food systems\, ArchUp’s coverage of agritecture and the integration of food production into urban environments provides a useful frame for understanding the spatial stakes of what CONVIVIUM puts on display. \nProgram\nThe exhibition is structured across twelve thematic chapters\, each addressing a distinct aspect of contemporary food production. Topics include climate-controlled greenhouse technology in the Netherlands\, the global salmon and tomato industry\, industrial dairy farming\, Bavarian carp aquaculture\, the territorial footprint of animal feed production\, the destruction of Ukrainian grain infrastructure by war\, and the degradation of agricultural soils. \nAlongside the main exhibition\, the programme includes a two-day international symposium at the Vorhoelzer Forum at TUM on April 23 and 24\, 2026\, curator-led tours\, and a public kitchen installation called Sommerküche CONVIVIUM in the outdoor area of the Pinakothek der Moderne. The exhibition also features a multimedia installation by Hungarian artist Daniel Szalai examining the role of breeding bulls as carriers of genetic information\, and a graphic essay tracing the opaque supply chains of soy production to Europe. \nThe exhibition is accompanied by a comprehensive publication and was developed in conjunction with a series of master projects and seminars at TUM’s Chair of History of Architecture and Curatorial Practice. Those interested in how agricultural waste intersects with building materials and spatial design will find a relevant counterpoint in ArchUp’s analysis of recycling agricultural waste into building materials\, which maps the boundary between food systems and construction practice. \n“Hardly any country on earth can feed its population entirely from its own resources anymore.” \nThe curators are Andjelka Badnjar and Andres Lepik\, with cocurators Victor Muñoz Sanz and Sofia Nannini contributing to the segment on animal production. For context on how architecture and agriculture converge at the urban scale\, ArchUp’s documentation of Stefano Boeri Architetti’s vertical farm project at Bright Food in Shanghai offers a built example of the spatial and ecological tensions the exhibition addresses. \nAudience\nThe exhibition is open to the general public. It is relevant to architects\, landscape architects\, urban designers\, environmental researchers\, students\, and anyone engaged with the relationship between spatial design and food systems. \nEvent Details\n\n\n\nOpening\nApril 22\, 2026\, 7:00 PM\n\n\nExhibition Dates\nApril 23 – October 18\, 2026\n\n\nSymposium Dates\nApril 23 – 24\, 2026\n\n\nVenue\nPinakothek der Moderne\, Barer Strasse 40\, Munich\, Germany\n\n\nEvent Type\nExhibition\, Symposium\, Public Programme\n\n\nAccess\nOpen to the public\n\n\nFees\nStandard museum admission applies\n\n\n\n✦ ArchUp Editorial Insight\nCONVIVIUM is a rare example of an architecture museum exhibition that takes on a subject most design institutions treat as peripheral: the spatial infrastructure of food. By mapping dairy farms\, greenhouse complexes\, slaughterhouses\, grain corridors\, and soy territories as architectural and territorial objects\, the exhibition makes a case that the built environment of food production is both one of the largest spatial systems on earth and one of the least examined by the architecture profession. The twelve-chapter structure is ambitious and risks becoming encyclopedic rather than analytical\, but the thematic range is necessary given how interconnected the failures of the food system are. What is most significant here is the curatorial framing: food infrastructure is not presented as a separate domain from architecture but as a direct extension of it\, subject to the same questions of spatial justice\, ecological consequence\, and design responsibility. Whether the profession will absorb that argument beyond the exhibition walls is a different question entirely. \nClosing Note\nThe exhibition runs for six months and is supported by an extensive network of academic institutions and research partners. Its duration and depth position it as a significant contribution to current debates about architecture’s relationship to ecological systems and resource territories.
URL:https://archup.net/event/convivium-food-systems-at-the-limit-2026/
LOCATION:Architekturmuseum der TUM\, Pinakothek der Moderne\, Arcisstraße 21\, Munich\, Munich\, -\, Germany
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/webp:https://archup.net/wp-content/uploads/2026/03/00_CV_Dairy_Farm_Johannes_Schwartz-1660x1180-1.webp
ORGANIZER;CN="Architekturmuseum der TUM":MAILTO:am@architekturmuseum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260429T080000
DTEND;TZID=UTC:20260630T170000
DTSTAMP:20260522T170550
CREATED:20260426T220508Z
LAST-MODIFIED:20260426T220508Z
UID:10001425-1777449600-1782838800@archup.net
SUMMARY:Liminal Field FFM: Spain's Pavilion for World Design Capital Frankfurt 2026
DESCRIPTION:Overview\nAs part of World Design Capital Frankfurt RheinMain 2026\, Spain presents “Liminal Field FFM\,” a temporary architectural pavilion installed in the garden of the Instituto Cervantes in Frankfurt. Promoted by ICEX (Spain’s Trade and Investment Agency)\, designed by José Ramón Tramoyeres and Javier Cortina of ggstudio\, and built by Volúmenes y Vareta (Manolo García)\, the pavilion is Spain’s contribution to the 2026 World Design Capital programme\, which runs throughout the year across Frankfurt and the Rhine-Main region under the theme “Design for Democracy: Atmospheres for a Better Life.” \nFrankfurt RheinMain is the first German city region to receive the World Design Capital designation\, awarded by the World Design Organization (WDO) in recognition of its commitment to design for social cohesion\, urban transformation\, and democratic futures. The WDC 2026 programme encompasses over 450 participatory projects and 2\,000 events\, with its central hub at the Museum Angewandte Kunst. \nDesign Concept\nThe pavilion takes its design cue from the constructive methodology of Antoni Gaudí\, not as a historical reproduction but as a structural and geometric principle. Gaudí’s approach\, rooted in natural forms\, geometry\, and the balance between simplicity and complexity\, is translated here into a contemporary lightweight system that is modular\, demountable\, and reusable. ggstudio frames this as an operational rather than nostalgic engagement with Gaudí’s legacy: geometry and material efficiency over formal imitation. \nThe structure combines a timber framework with a hybrid envelope of ceramic elements and textile components. The ceramics provide texture\, durability\, and depth; the textiles modulate light\, ventilation\, and interaction with the surrounding environment. Integrated low-energy lighting activates the installation at night. The pavilion’s organic\, continuous geometry creates a permeable space that engages the park setting and encourages free movement rather than directing it. \nThe project is explicitly aligned with the principles of the New European Bauhaus\, integrating sustainability\, construction precision\, and a social dimension. Its circular and reversible infrastructure model is the conceptual core: the pavilion is designed to leave no permanent physical imprint\, then travel to its next destination. Milan is named as the planned next stop. \nA dismantlable\, reusable\, and itinerant proposal\, the structure features an organic and continuous geometric design that integrates Mediterranean material culture with technical innovation.\nggstudio / ICEX\, Project Description\, 2026 \nTechnical Specifications\n\nProject NameLiminal Field FFM\nFootprintApproximately 150 square metres\nPrimary StructureTimber framework\, modular and demountable\nEnvelopeHybrid ceramic panels and textile components\nLightingIntegrated low-energy systems for night activation\nCircularityFully dismantlable\, reusable\, and designed for international mobility\nNext DestinationMilan (planned)\nDesign ReferenceConstructive principles of Antoni Gaudí\n\nWorld Design Capital 2026 Context\nWDC Frankfurt RheinMain 2026 is structured around a year-long programme that includes the WDC Hub at Museum Angewandte Kunst\, a mobile WDC Pavilion travelling through the region\, Open Design Week in June 2026 (a ten-day festival of installations\, workshops\, and talks)\, and the WDC Campus for emerging designers. The designation reflects the region’s long-standing participatory design practice and cross-sector collaboration\, with city-level design positioned as a driver for democratic participation. The Spanish pavilion sits within this framework as an international contribution that brings a specific cultural and material tradition into conversation with the host region’s design agenda. \nArchitects and Builder\nggstudio is a Valencia-based architectural practice founded by José Ramón Tramoyeres and Javier Cortina. The studio operates across scales and typologies\, with a sustained interest in the relationship between material intelligence\, structural logic\, and cultural context. Their practice engages with the legacy of Mediterranean construction traditions as a living\, evolving resource rather than a historical archive. Volúmenes y Vareta\, led by Manolo García\, is responsible for fabrication and construction\, bringing precision craft to the assembly of the pavilion’s modular timber and ceramic system. The project is promoted and funded by ICEX\, which operates the Interiors from Spain programme as part of its broader mandate to promote Spanish design and architecture internationally. \nAudience\nThe pavilion is publicly accessible in the garden of the Instituto Cervantes in Frankfurt throughout its installation period in 2026. As a free public space\, it addresses a general urban audience alongside professionals\, students\, and cultural visitors engaged with the World Design Capital programme. Those tracking developments in temporary architectural structures\, circular construction systems\, and the international circulation of Spanish design practice will find the project a direct and built case study. \nEvent Details\n\n\n\nInstallation Period\n2026 (exact dates not published — aligned with WDC Frankfurt RheinMain 2026 programme year)\n\n\nLocation\nGarden of Instituto Cervantes\, Frankfurt\, Germany\n\n\nAdmission / Fees\nFree public access\n\n\nProject Name\nLiminal Field FFM\n\n\nArchitects\nJosé Ramón Tramoyeres and Javier Cortina\, ggstudio (Valencia\, Spain)\n\n\nBuilder\nVolúmenes y Vareta / Manolo García\n\n\nPromoter\nICEX Spain Trade and Investment\n\n\nWDC Programme\nWorld Design Capital Frankfurt RheinMain 2026 — wdc2026.org\n\n\nNext Destination\nMilan (planned)\n\n\n\n\n✦ ArchUp Editorial Insight\nLiminal Field FFM is structurally coherent as a design proposition: the alignment between its stated references (Gaudí’s constructive logic)\, its material choices (timber\, ceramics\, textile)\, and its circularity ambition (demountable\, mobile\, leaving no trace) is genuine rather than rhetorical. The decision to frame the Gaudí reference operationally\, as a structural and geometric inheritance rather than a visual or formal one\, is the most disciplined aspect of the project and the one that distinguishes it from pavilions that invoke historical precedents decoratively. The New European Bauhaus alignment is less specific: it names a policy framework more than a design position. What will determine the pavilion’s real contribution is less its Frankfurt presence and more whether its itinerant model\, designed for international mobility with Milan as the next destination\, actually delivers on the promise of genuinely reusable architectural infrastructure rather than a temporary structure that happens to be dismantlable. \n\n\nClosing Note\nSpain’s contribution to World Design Capital Frankfurt 2026 positions contemporary Spanish architectural practice within a European design discourse shaped by circularity\, democratic public space\, and cultural exchange. As a physical object\, Liminal Field FFM is a 150-square-metre timber and ceramic structure in a Frankfurt garden. As a proposition\, it argues that temporary cultural infrastructure can be light\, precise\, reusable\, and rooted in a specific material and constructive tradition without being either nostalgic or disposable.
URL:https://archup.net/event/liminal-field-ffm-spains-pavilion-for-world-design-capital-frankfurt-2026/
LOCATION:Instituto Cervantes Frankfurt\, Staufenstraße 1\, 60323 Frankfurt am Main\, Frankfurt\, Frankfurt\, -\, Germany
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/04/RENDER_01_LUZ.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260501T080000
DTEND;TZID=UTC:20270331T170000
DTSTAMP:20260522T170550
CREATED:20260503T162043Z
LAST-MODIFIED:20260503T162043Z
UID:10001476-1777622400-1806512400@archup.net
SUMMARY:Hans Ulrich Obrist Archives Chapter 6: Zaha Hadid — "I Think There Should Be No End to Experimentation"
DESCRIPTION:Overview\nLUMA Arles presents the sixth chapter of Hans Ulrich Obrist’s Archives series\, dedicated to Zaha Hadid\, at The Tower in the Parc des Ateliers in Arles\, France. The exhibition opens May 1\, 2026 and runs through March 31\, 2027\, marking the tenth anniversary of Dame Zaha Hadid’s passing on March 31\, 2016. It is organized by LUMA Arles Artistic Director Vassilis Oikonomopoulos and curated by Hans Ulrich Obrist (Senior Advisor) and Arthur Fouray (Curator and Archivist)\, in close collaboration with the Zaha Hadid Foundation. \nPresented in The Tower designed by the late Frank Gehry\, a close friend of Hadid’s\, the exhibition brings together early calligraphic architectural paintings\, notebooks\, archival materials\, and hours of previously unseen video interviews recorded between 2001 and 2013. It is the first major institutional presentation of this material since the Serpentine’s posthumous exhibition “Zaha Hadid: Early Paintings and Drawings” in 2016. \nFocus\nThe exhibition’s central argument is that Hadid’s early painting practice was not supplementary to her architecture but structurally generative of it. Working through axonometric projection\, multi-perspectival viewpoints\, calligraphic line\, and acrylic layering\, she developed a spatial vocabulary through the canvas long before advanced software could coordinate the geometric complexity she was inventing. The title\, drawn from Hadid’s own words\, names her methodological position precisely: experimentation not as phase but as permanent condition. \nThe show traces three interconnected chapters of Hadid’s career: from her engagement with Constructivism and the Russian avant-garde at the Architectural Association under Rem Koolhaas and Elia Zenghelis; to her early projects and their reception in the French context\, including the CMA CGM Tower in Marseille (2004–2011) and Pierresvives in Montpellier (2002–2012); to her longstanding intellectual relationship with Hans Ulrich Obrist\, which began in the late 1990s with the *Meshworks* commission at the Villa Medici in Rome. \nThrough axonometric projection\, multi-perspectival viewpoints\, calligraphic line\, and acrylic layering\, she pushes architecture beyond the inertia of Euclidean geometry long before advanced software can help coordinate such complexity.\nLUMA Arles\, Exhibition Description\, 2026 \nExhibition Structure\nChapter 1: Constructivism and the AA Years\nThe exhibition opens with Hadid’s formation at the Architectural Association in London from 1972\, where she worked in the orbit of Rem Koolhaas and Elia Zenghelis exploring the aborted experiments of Modernism and the Russian avant-garde. This section presents the Suprematist geometric exercises and calligraphic paintings that formed her early research practice\, tracing how abstract painting functioned as a laboratory for spatial invention at a moment when her architectural ideas had no buildable form yet. \nChapter 2: Early Projects and the French Context\nThe second chapter connects Hadid’s painterly research to her early built work and unbuilt proposals\, with particular attention to the French context: the CMA CGM Tower in Marseille and Pierresvives in Montpellier\, two projects that situate her practice within French institutional and urban history. The selection traces the path from her first completed building\, the Vitra Fire Station in Weil am Rhein (1988–1993)\, through the development of her built architectural language. \nChapter 3: The Obrist Relationship\nThe third chapter documents Hadid’s sustained intellectual exchange with Hans Ulrich Obrist across encounters in London\, Basel\, Munich\, and Paris through the early 2000s. It includes her participation in several Serpentine Marathons\, her *Lilas* installation inaugurated at the Serpentine’s 2007 Summer Party\, and the completion of the Serpentine North Gallery and The Magazine restaurant (2009–2013) by Zaha Hadid Architects. Hours of previously unseen video interviews from 2001 to 2013 are presented here\, alongside posters realized by her peers and admirers. \nWorks and Materials\nThe exhibition combines early calligraphic paintings and notebooks as Suprematist geometric exercises; architectural drawings and project documentation; archival materials from the Zaha Hadid Foundation; posters by peers and admirers; and hours of previously unseen video interviews recorded between 2001 and 2013. The material spans painting\, architectural research\, publication\, and discourse\, presenting Hadid as a philosopher of space rather than solely as a builder of monuments. \nAbout the Archives Series\nThe Hans Ulrich Obrist Archives is a long-term project at LUMA Arles dedicated to bringing together\, safeguarding\, and sharing the archives of key figures in art\, architecture\, design\, and critical thought. Each chapter focuses on a single figure whose archive is in dialogue with Obrist’s own collection of conversations\, collaborations\, and institutional relationships accumulated over four decades of curatorial practice. \n\nChapter 1Édouard Glissant\nChapter 2Sonia Delaunay\nChapter 3Jonas Mekas\nChapter 4Philippe Parreno\nChapter 5Etel Adnan\nChapter 6Zaha Hadid (2026–2027)\n\nAudience\nThe exhibition is open to the general public at LUMA Arles. Its nearly eleven-month run places it within several major cultural seasons in Arles\, including the Rencontres de la Photographie (July) and the Arles Christmas market (December). Its primary audience is practitioners and historians of architecture\, contemporary art\, and design research\, alongside general visitors to LUMA Arles and those drawn to the retrospective scope of Hadid’s practice. The Tower in Gehry’s building provides a resonant architectural venue for an exhibition about architectural imagination. \nEvent Details\n\n\n\nExhibition Dates\nMay 1\, 2026 – March 31\, 2027\n\n\nVenue\nThe Tower (Living Archives\, Level –2; Cherry Tree Gallery\, Level –2)\, Parc des Ateliers\, 35 avenue Victor Hugo\, 13200 Arles\, France\n\n\nHours\n10:00am – 6:00pm / Closed Tuesdays\n\n\nAdmission / Fees\nTicketed — purchase via tickets.luma.org\n\n\nSubject\nZaha Hadid (b. October 31\, 1950\, Baghdad / d. March 31\, 2016\, Miami)\n\n\nAnniversary\n10th anniversary of Hadid’s passing (March 31\, 2026)\n\n\nArtistic Director\nVassilis Oikonomopoulos\, LUMA Arles\n\n\nCurators\nHans Ulrich Obrist (Senior Advisor); Arthur Fouray (Curator and Archivist)\n\n\nCuratorial Assistant\nLucas Jacques-Witz\n\n\nIn collaboration with\nZaha Hadid Foundation\n\n\nVenue architect\nFrank Gehry (The Tower\, Parc des Ateliers)\n\n\nContact\nluma.org/en/arles / +33 4 65 88 10 00\n\n\n\n\n✦ ArchUp Editorial Insight\nThe most important claim this exhibition makes is not about Hadid’s built work but about her painterly practice: that the canvases were a genuine research instrument\, not an illustration of ideas already formed elsewhere. If the early calligraphic paintings and notebooks are shown with sufficient analytical context\, they reveal something that retrospectives organized around built projects routinely obscure — that Hadid’s formal language was developed through drawing and painting before it was ever constructable\, and that the period often dismissed as “paper architecture” was where the most consequential spatial thinking occurred. Presenting this at The Tower in Gehry’s building adds a layer of architectural self-referentiality that is either resonant or distracting depending on how explicitly the installation addresses it. The ten-year anniversary frame is occasion rather than argument; what will define the exhibition’s contribution to understanding Hadid’s practice is the density and honesty of the archival material it brings to light\, particularly the previously unseen video interviews\, which have the potential to complicate the institutional hagiography that has surrounded her legacy since 2016. \n\n\nClosing Note\nNearly eleven months in The Tower at LUMA Arles\, opening on the tenth anniversary of Hadid’s passing and closing on its exact date a year later\, gives this exhibition an unusual temporal frame. The material it promises — early paintings\, notebooks\, unseen video interviews across twelve years of conversation — is among the most substantive archive-based engagement with Hadid’s practice to have been mounted since her death. For those engaged with the history of architectural drawing\, the relationship between painting and spatial invention\, and the theoretical and critical culture of late twentieth-century architecture\, the Arles presentation is worth the journey.
URL:https://archup.net/event/hans-ulrich-obrist-archives-chapter-6-zaha-hadid-i-think-there-should-be-no-end-to-experimentation/
LOCATION:LUMA Arles\, The Tower\, Living Archives\, Level -2\, The Tower\, Cherry Tree Gallery\, Level -2\, Arles\, Arles\, -\, France
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/05/Zaha-Hadid-‘I-Think-There-Should-Be-No-End-to-Experimentation-designboom-1200.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260501T080000
DTEND;TZID=UTC:20261004T170000
DTSTAMP:20260522T170550
CREATED:20260503T162905Z
LAST-MODIFIED:20260503T162905Z
UID:10001478-1777622400-1791133200@archup.net
SUMMARY:NIGO: From Japan with Love
DESCRIPTION:Overview\nThe Design Museum in London presents “NIGO: From Japan with Love\,” the first museum retrospective of Japanese creative director NIGO outside of Japan\, running May 1 through October 4\, 2026. The exhibition features over 700 objects and charts a career spanning more than thirty years across fashion\, music\, architecture\, and interior design\, presenting NIGO as one of the first creatives to bridge the worlds of streetwear and luxury fashion on a global scale. \nBorn Tomoaki Nagao in Maebashi\, Gunma\, Japan\, NIGO is the founder of A Bathing Ape (BAPE)\, one of the defining brands of 1990s and 2000s streetwear culture\, and currently serves as Artistic Director of KENZO. His practice draws on vintage Americana\, hip-hop\, traditional Japanese craft\, and the cultural energy of 1980s Tokyo\, particularly the Harajuku district’s street style scene. The exhibition is curated by Esme Hawes. \nFocus\nThe exhibition traces NIGO’s multidisciplinary practice from its origins in the back streets of Harajuku to its global influence\, presenting his work as a sustained and coherent creative vision rather than a sequence of brand ventures. At its centre is NIGO’s ability to draw simultaneously on vintage Americana\, streetwear culture\, hip-hop music\, traditional Japanese ceramics and craft\, and contemporary luxury\, weaving these into design languages that have proven consistently influential. \nA significant dimension of the exhibition is its engagement with material culture and making. NIGO is himself a practitioner of ceramics\, and the exhibition includes pieces hand-thrown by him alongside objects from his personal collection of vintage clothing\, furniture (USM Modular Furniture\, his chosen furniture partner)\, and artefacts. A life-size glass tea house made especially for the exhibition is among the major spatial gestures. The recreation of his teenage bedroom in Harajuku is positioned as both biographical context and an index of the cultural influences that shaped his practice. \nFrom the back streets of Harajuku\, Tokyo\, to the global stage\, this is the first-ever museum retrospective and exhibition outside of Japan that will chart the career and life of Japanese creative director NIGO.\nDesign Museum\, Exhibition Description\, 2026 \nExhibition Highlights\nThe Glass Tea House\nA life-size glass tea house created especially for the exhibition is one of its most architecturally significant elements. The tea house draws on the Japanese tradition of the chashitsu\, the purpose-built space for the tea ceremony\, translating it into a contemporary material language. Its presence in a London design museum situates a specifically Japanese spatial and ritual tradition within an international design discourse\, making visible the continuous exchange between Japanese craft tradition and NIGO’s contemporary practice. \nNIGO’s Teenage Bedroom Recreation\nA full recreation of NIGO’s teenage bedroom in Harajuku functions as the exhibition’s autobiographical anchor. The space documents the specific cultural environment — vintage clothing\, music\, visual references — from which his practice emerged\, making the argument that his design language is directly biographical rather than abstracted from personal history. \nCeramics by NIGO\nHand-thrown ceramics by NIGO himself are included alongside rare designs and objects from his personal collection. These position NIGO not only as a creative director but as a maker\, extending his practice into the material and tactile register that is typically absent from fashion retrospectives. \nPersonal Collection\nObjects from NIGO’s personal collection of vintage clothing and artefacts form a significant portion of the exhibition. The collection demonstrates the discipline of his collecting practice and the breadth of cultural references\, from vintage Americana to traditional Japanese objects\, that inform his design sensibility. \nRelated Events\n\n\nFriday June 5\, 2026\, 10:30–12:00\nAudio-Described Tour of NIGO: From Japan with Love — group tour for blind and visually impaired visitors\n\n\nFriday July 10\, 2026\, 10:30–12:45\nCurator Tour of NIGO: From Japan with Love — delivered by curator Esme Hawes\n\n\nPublication\nAn accompanying exhibition book\, “NIGO: From Japan with Love\,” is available for pre-order via the Design Museum Shop for delivery from May 2026\, or for collection on the day of a visit. \nAudience\nThe exhibition is open to the general public at the Design Museum\, Kensington High Street\, London. Its subject matter\, spanning streetwear\, fashion\, music\, craft\, and interior design\, gives it a broad appeal across audiences from design and fashion history\, contemporary culture studies\, and general visitors. The glass tea house and ceramic works extend the exhibition’s relevance to audiences interested in spatial and material practice. The five-month run places it within the London summer cultural season. \nEvent Details\n\n\n\nExhibition Dates\nMay 1 – October 4\, 2026\n\n\nVenue\nDesign Museum\, 224-238 Kensington High Street\, London W8 6AG\n\n\nAdmission / Fees\nAdults from £15.29 / Children from £7.65 / Students and concessions from £11.47 / Members free. Book via designmuseum.org\n\n\nSubject\nNIGO (Tomoaki Nagao)\, creative director\, founder of A Bathing Ape\, Artistic Director of KENZO\n\n\nCurator\nEsme Hawes\, Design Museum\n\n\nObjects\n700+\n\n\nExhibition Type\nFirst museum retrospective outside Japan\n\n\nExhibition Supporter\nNOT A HOTEL\n\n\nFurniture Partner\nUSM Modular Furniture\n\n\nExhibition Book\nPre-order via designmuseumshop.com\n\n\nContact\ndesignmuseum.org\n\n\n\n\n✦ ArchUp Editorial Insight\nPresenting NIGO at the Design Museum rather than a fashion institution is the clearest curatorial statement the exhibition makes: his practice is framed as design history\, not fashion history. The distinction matters. Fashion retrospectives tend to organise their subjects around garments and brand narratives; the Design Museum’s frame allows the glass tea house\, the ceramics\, the vintage furniture\, and the Harajuku bedroom to carry equal weight alongside the clothing. Whether the 700 objects succeed in demonstrating a coherent design vision rather than an impressive personal collection is the central question the exhibition must answer. The tea house is the most interesting single element for an architectural audience: its translation of chashitsu spatial logic into a contemporary material language\, and its installation in a London museum\, makes the cross-cultural dimension of NIGO’s practice visible in built rather than worn form. The USM Modular Furniture partnership\, NIGO’s chosen furniture\, is a small but pointed detail: USM is itself a design language with specific cultural associations\, and its presence in the exhibition reflects his collector’s sensibility applied to furniture as consistently as to clothing. \n\n\nClosing Note\nFive months at the Design Museum gives “NIGO: From Japan with Love” an extended presence in London’s cultural calendar from early summer through early autumn. For those tracking the intersection of Japanese material culture\, streetwear’s design legacy\, and the blurred boundaries between fashion\, craft\, architecture\, and interior design\, the exhibition offers the most comprehensive single presentation of NIGO’s practice that has been mounted outside Japan.
URL:https://archup.net/event/nigo-from-japan-with-love/
LOCATION:Design Museum\, 224 – 238 Kensington High Street London W8 6AG\, London\, London\, -\, United Kingdom
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/05/606_980-E9712F39-05EA-4A81-93DB-06B7E243CF85.jpeg
ORGANIZER;CN="Design Museum":MAILTO:bookings@designmuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260507T080000
DTEND;TZID=UTC:20260611T170000
DTSTAMP:20260522T170550
CREATED:20260428T232643Z
LAST-MODIFIED:20260428T232643Z
UID:10001437-1778140800-1781197200@archup.net
SUMMARY:Deportation Inc.: Investigating the Business of Migrant Detention 2026
DESCRIPTION:Overview\nDeportation Inc.: Investigating the Business of Migrant Detention is a public program hosted by The Architectural League of New York in Brooklyn\, United States. The event examines how detention systems\, border infrastructure\, and private contracting intersect with architecture\, policy\, and spatial control. \nIts subject expands the role of architecture beyond buildings\, focusing instead on institutional environments and systems shaped through design decisions. \nFocus\nThe program centers on migrant detention as a built industry involving facilities\, logistics\, surveillance\, and procurement networks. Rather than treating borders as lines on maps\, it studies them as physical and administrative landscapes. \nThis also connects with wider debates in urban planning\, where infrastructure can be used for regulation\, separation\, and territorial management. \nProgram\nThe event includes a screening from the ongoing investigative series Deportation Inc.\, followed by a panel discussion with researchers\, journalists\, and legal specialists. Topics include privatization\, detention geographies\, policy mechanisms\, and public accountability. \nIt offers a broader reading of how design tools such as mapping\, data visualization\, and spatial analysis can be used to investigate state systems. \nAudience\nThis event is relevant to architects\, planners\, researchers\, students\, legal observers\, and visitors interested in the political dimensions of space. \nEvent Details\n\n\n\nDates\nVenue\nEvent Type\nAccess\nFees\n\n\n7 May 2026\ne-flux Screening Room\, Brooklyn\, New York\nScreening and Discussion\nPublic Registration\nFree\n\n\n\n✦ ArchUp Editorial Insight\nThis program is significant because it treats detention not only as a legal issue but as a spatial one. Architecture often claims neutrality\, yet facilities\, circulation systems\, and territorial boundaries can actively reinforce exclusion. The event challenges designers to examine where professional practice becomes entangled with enforcement systems. \nClosing Note\nAs a research based public event\, it occupies a specialized position yet addresses increasingly relevant questions about infrastructure\, governance\, and ethics.
URL:https://archup.net/event/deportation-inc-investigating-the-business-of-migrant-detention-2026/
LOCATION:The Architectural League\, e-flux Screening Room\, 172 Classon Ave\, Brooklyn\, NY 11205\, Brooklyn\, NY\, -\, United States
CATEGORIES:Conferences
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/04/210511-H-D0456-0001.jpg
ORGANIZER;CN="The Architectural League":MAILTO:info@archleague.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260507T080000
DTEND;TZID=UTC:20260902T170000
DTSTAMP:20260522T170550
CREATED:20260428T153346Z
LAST-MODIFIED:20260428T153346Z
UID:10001435-1778140800-1788368400@archup.net
SUMMARY:Gerrit Rietveld: Wealth of Sobriety 2026
DESCRIPTION:Overview\nGerrit Rietveld: Wealth of Sobriety is an exhibition presented at the Center for Architecture in New York City\, United States. The show examines the residential work of Dutch architect Gerrit Rietveld through photography\, archival interpretation\, and modernist design history. \nThe exhibition sits within wider discussions in architecture\, especially around minimalism\, domestic space\, and twentieth century experimentation. \nFocus\nThe project focuses on lesser known houses designed by Rietveld between 1924 and 1963. Rather than repeating his most recognized works\, the exhibition studies private residences that reveal how restraint\, proportion\, light\, and functional planning shaped his broader practice. \nIts themes also connect to debates in interior design\, where simplicity and spatial clarity continue to influence contemporary housing. \nProgram\nThe exhibition includes selected photographs by Arjan Bronkhorst\, drawn from a larger research project documenting Rietveld houses. Curated displays compare details from multiple homes to build a visual narrative instead of a chronological timeline. \nThe program offers useful context for readers following modern residential ideas and urban planning trends linked to efficient living models. \nAudience\nThis exhibition is relevant to architects\, students\, historians\, photographers\, and visitors interested in modernist housing design. \nEvent Details\n\n\n\nDates\nVenue\nEvent Type\nAccess\nFees\n\n\n7 May 2026 to 2 September 2026\nCenter for Architecture\, New York City\nExhibition\nPublic\nFree\n\n\n\n✦ ArchUp Editorial Insight\nThe exhibition is valuable because it shifts attention from iconic objects to everyday domestic architecture. Rietveld’s disciplined minimalism remains influential\, but it also raises questions about how far aesthetic restraint can support changing family life\, storage needs\, and long term residential flexibility in contemporary housing. \nClosing Note\nAs a focused gallery exhibition\, it operates at a modest scale yet contributes meaningfully to current conversations on housing efficiency\, material restraint\, and modernist legacy.
URL:https://archup.net/event/gerrit-rietveld-wealth-of-sobriety-2026/
LOCATION:Center for Architecture\, 536 LaGuardia Pl.\, New York\, NY\, New York\, NY\, -\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/04/RIETVELD_CFA_001_Photo-Arjan-Bronkhorst-2500px-1536x1150-1.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260507T080000
DTEND;TZID=UTC:20260902T170000
DTSTAMP:20260522T170550
CREATED:20260429T233520Z
LAST-MODIFIED:20260429T233520Z
UID:10001444-1778140800-1788368400@archup.net
SUMMARY:CFA Lab: Repair — Democracy and Urban Spaces
DESCRIPTION:Overview\nThe Center for Architecture presents “CFA Lab: Repair — Democracy and Urban Spaces\,” a multi-month exhibition and residency running May 7 through September 2\, 2026\, at 536 LaGuardia Place in New York City. The exhibition opens as part of the Center’s Spring Exhibitions Opening Night on May 7\, 6 to 8pm. \nCFA Lab is the Center for Architecture’s annual multi-disciplinary residency programme that offers new voices in architecture and design full authorship over dedicated areas of the Centre’s platforms. The 2026 cohort was selected through an open call inviting architects\, urban planners\, designers\, artists\, cultural conservationists\, and community activists to respond to a single prompt: Repair. Two group residents were selected whose projects operate at the intersection of ecological systems\, energy infrastructure\, community power\, and the politics of the ground. \nFocus\nThe prompt “Repair — Democracy and Urban Spaces” frames the concept of repair as simultaneously material and political. The CFA Lab brief positions repair not merely as the maintenance of physical infrastructure but as a lens through which to examine and reimagine democratic\, equitable urban spaces\, addressing the political and social inequities embedded within the built environment. \nThe two selected projects approach this prompt from different but complementary positions: one working through the lens of community energy and fossil fuel infrastructure; the other through the ecological and political implications of pavement and the ground beneath cities. Together they propose that the repair of democratic urban space requires attending to both who controls energy and what covers the ground. \nResidents will address the urgent need to repair not only the physical infrastructure of our environments but also the political and social inequities embedded within them.\nCenter for Architecture\, CFA Lab 2026 Brief \nResident Projects\n\nEnergies of Repair: Visualizing Community Power in NYC\nAndrea Johnson and Ashley Dawson. Examines fossil fuel infrastructure across New York City’s waterfront communities\, mapping the relationship between environmental harm\, community vulnerability\, and the potential for energy repair as a form of democratic reclamation.\nDEPAVE: An Ecological Repair of the Ground\nFriends Making Work (Christine Giorgio\, Amelyn Ng\, and Gabriel Vergara). Addresses the ecological and political dimensions of pavement removal and ground restoration as an act of urban repair\, connecting surface conditions to questions of land access\, stormwater\, and community space.\n\nGraphic design for the exhibition is by WSDIA. Both projects were developed over the Lab’s multi-month residency period\, with public programming running alongside the exhibition throughout its run. \nRelated Events\n\n\nMarch 29\, 2026\nEnergies of Repair Tour: Sunset Park Toxicity with UPROSE\n\n\nApril 11\, 2026\nEnergies of Repair Tour: Fossil Fuels on Newtown Creek\n\n\nMay 7\, 2026\, 6–8pm\nSpring Exhibitions Opening Night\n\n\nMay 18\, 2026\nReclaiming Power and Ground: Two Projects in Urban Repair (Networking and Programme Event)\n\n\nResidents and Context\nAndrea Johnson and Ashley Dawson bring together community organising practice and academic environmental humanities to focus on New York City’s fossil fuel infrastructure as a site of both harm and potential repair. Their project\, developed across the Lab residency\, maps the geography of energy inequality in the city and argues that energy transition is inseparable from democratic repair of urban communities historically burdened by extraction and pollution. \nFriends Making Work\, the collaboration of Christine Giorgio\, Amelyn Ng\, and Gabriel Vergara\, addresses the ecological violence of urban pavement: the suppression of ground hydrology\, heat island intensification\, loss of soil ecology\, and the foreclosure of community green space. DEPAVE frames the removal of pavement as an act of design and civic repair simultaneously\, connecting material ground conditions to the democratic access to urban nature. \nAbout CFA Lab\nCFA Lab is the Center for Architecture’s residency programme for new voices in design. By offering full authorship over dedicated platforms\, it provides an institutional infrastructure for emerging practitioners to develop content beyond what the conventional exhibition format typically allows. Past Lab cohorts have addressed food systems\, climate adaptation\, housing\, and civic technology. The 2026 edition is the first to take repair as its central framework\, a choice that is both timely and politically specific given the current condition of public infrastructure\, democratic institutions\, and urban ecology in the United States. \nAudience\nThe exhibition is open to the general public at the Center for Architecture\, free of charge\, through September 2\, 2026. Its four-month run allows for extended public engagement. The related events programme\, which includes field tours to specific New York City sites\, extends the exhibition’s frame beyond the gallery into the urban landscape it addresses. The audience spans architecture and design professionals\, community advocates\, educators\, students\, and general visitors. \nEvent Details\n\n\n\nExhibition Dates\nMay 7 – September 2\, 2026\n\n\nOpening Night\nMay 7\, 2026\, 6–8pm (Spring Exhibitions Opening Night)\n\n\nVenue\nCenter for Architecture\, 536 LaGuardia Place\, New York\, NY 10012\n\n\nAdmission / Fees\nFree and open to the public\n\n\nResident Projects\nEnergies of Repair (Andrea Johnson and Ashley Dawson); DEPAVE (Friends Making Work: Christine Giorgio\, Amelyn Ng\, Gabriel Vergara)\n\n\nGraphic Design\nWSDIA\n\n\nOrganizer\nCenter for Architecture / AIA New York\n\n\nFunding\nNew York State Council on the Arts; NYC Department of Cultural Affairs\n\n\nSponsors\nGensler; Sciame; Thornton Tomasetti; Zetlin & De Chiara\n\n\nContact\ncenterforarchitecture.org / 212-683-0023\n\n\n\n\n✦ ArchUp Editorial Insight\nThe choice of “Repair” as the 2026 CFA Lab prompt is doing more than thematic work. It names a specific condition: the simultaneous deterioration of physical infrastructure\, democratic institutions\, and urban ecology in American cities\, and the inadequacy of conventional architectural and planning responses to all three. The two selected projects read the brief precisely. “Energies of Repair” treats fossil fuel infrastructure as a political and spatial problem whose solution requires democratic reorganisation of energy\, not just engineering. DEPAVE treats pavement as a political act that has been performed against communities\, whose reversal is equally political. Both projects refuse the apolitical framing of repair as maintenance\, insisting instead that what gets repaired\, and who does the repairing\, are the actual design questions. The four-month run and the field tour programme\, which takes participants to Newtown Creek and Sunset Park\, are the right format for this content: the argument these projects are making requires leaving the gallery. Whether the programme reaches the communities whose spaces are being discussed\, or remains an architecture-sector audience event\, will determine whether it delivers on its own premise. \n\n\nClosing Note\nCFA Lab 2026 runs through September 2 with a public programme that extends well beyond the gallery walls into New York City’s waterfront and pavement politics. For those engaged with the intersection of urban design\, environmental justice\, and democratic practice\, the two resident projects offer a grounded and site-specific set of arguments about what repair actually means when it is taken seriously as a design framework rather than a metaphor.
URL:https://archup.net/event/cfa-lab-repair-democracy-and-urban-spaces/
LOCATION:Center for Architecture\, 536 LaGuardia Pl.\, New York\, NY\, New York\, NY\, -\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/04/Repair-Landing-page-border-2500px-1536x1030-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260509T080000
DTEND;TZID=UTC:20261122T170000
DTSTAMP:20260522T170550
CREATED:20260301T230034Z
LAST-MODIFIED:20260301T230034Z
UID:10001246-1778313600-1795366800@archup.net
SUMMARY:National Pavilion UAE at La Biennale di Venezia 2026
DESCRIPTION:Overview\nThe National Pavilion UAE has named Bana Kattan who works as the Curator and Associate Head of Exhibitions at the Guggenheim Abu Dhabi Project to serve as the curator for the UAE exhibition at the 61st International Art Exhibition which will take place at La Biennale di Venezia in 2026. The Pavilion will present its exhibition as part of the global art platform in Venice. \nFocus\nThe UAE nation participates in the 61st International Art Exhibition which operates under the title In Minor Keys that Koyo Kouoh has selected as its curator. The exhibition will reflect the Pavilion’s ongoing commitment to supporting artistic discourse and presenting contemporary practices from the UAE within an international context. \nProgram\nThe National Pavilion UAE will present an exhibition that Bana Kattan has developed through a dedicated publication which will expand on the curatorial framework together with the works that will be shown. The presentation will contribute to the broader Biennale program through its engagement with global artistic dialogues which will be explored through site-specific research-based methods. \nAudience\nThe exhibition targets international art audiences which include curators critics scholars and La Biennale di Venezia visitors together with people who want to learn about contemporary art practices from the UAE. \nEvent Details \n\n\n\nDate\nPre-Opening\nVenue\nCity\nEvent Type\nAdmission\n\n\nMay 9 – November 22\, 2026\nMay 6–8\, 2026\nNational Pavilion UAE\nVenice\, Italy\nInternational Art Exhibition\nBiennale ticket required\n\n\n\n✦ ArchUp Editorial Insight\nThe National Pavilion UAE at La Biennale di Venezia 2026 operates within a global art framework\, positioning curatorial research and contemporary discourse at the forefront of its presentation. The pavilion establishes international cultural exchange through its architectural design\, which exists as a secondary element to its artistic narrative and exhibition strategy. The curated format emphasizes thematic coherence and institutional representation rather than spatial experimentation or architectural intervention. The pavilion operates as a cultural platform which belongs to a bigger art system according to its architectural design\, because it limits its architectural activities to scenographic and exhibition design work. \nClosing Note\nThe National Pavilion UAE’s participation in the 61st International Art Exhibition – La Biennale di Venezia 2026 reinforces its role in positioning UAE artists and curatorial voices within one of the world’s most significant contemporary art platforms. \nExplore the Latest Architecture Exhibitions & Conferences\n\n\n\nArchUp offers daily updates on top global architectural exhibitions\, design conferences\, and professional art and design forums. Follow key architecture competitions\, check official results\, and stay informed through the latest architectural news worldwide. ArchUp is your encyclopedic hub for discovering events and design-driven opportunities across the globe.
URL:https://archup.net/event/national-pavilion-uae-at-la-biennale-di-venezia-2026/
LOCATION:International Art Exhibition\, Studio 19\, M_39 Mina Zayed\, 7 Al Rutam Street\, Abu Dhabi\, United Arab Emirates\, Abu Dhabi\, Abu Dhabi\, -\, United Arab Emirates
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/03/koyo-kouoh-in-minor-keys-NPUAE2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260509T080000
DTEND;TZID=UTC:20261123T170000
DTSTAMP:20260522T170550
CREATED:20260504T120022Z
LAST-MODIFIED:20260504T120022Z
UID:10001480-1778313600-1795453200@archup.net
SUMMARY:Helter Skelter: Arthur Jafa and Richard Prince
DESCRIPTION:Overview\nFondazione Prada presents “Helter Skelter: Arthur Jafa and Richard Prince” at Ca’ Corner della Regina\, its Venetian venue\, from May 9 to November 23\, 2026\, coinciding with the 61st Venice Art Biennale (press previews May 6 to 8). The exhibition is curated by Nancy Spector\, former Artistic Director of the Guggenheim Museum. It brings together more than fifty works spanning photographs\, videos\, installations\, sculptures\, and paintings by two of the most consequential American artists working today\, and reveals a creative conversation between them that has never previously been examined as a subject of exhibition. \nArthur Jafa (b. 1960) and Richard Prince (b. 1949) are separated by a decade and by the very different social positions from which they encounter American visual culture: Jafa as an African American man with a sustained mission to reinvigorate Black cinema and art; Prince from a position that oscillates between self-conscious critique of white masculinity and an almost clinical fascination with the American psyche’s underbelly. Yet both have developed practices rooted in appropriation\, image capture\, and the conversion of found visual material into art by force of selection and context alone. \nFocus\nThe exhibition’s curatorial logic rests on the argument that despite their different social positionalities and aesthetic registers\, Jafa and Prince share a fundamental artistic DNA: both are image scavengers operating in the tradition of the Duchampian readymade\, pulling from movies\, pulp novels\, comic books\, YouTube videos\, science fiction\, album covers\, record sleeves\, rock and roll posters\, first-edition Beat volumes\, newsreels\, celebrity memorabilia\, and social media posts. Neither seeks permission. Both convert source material into art through the act of selection and displacement alone. \nThe exhibition also features new work by each artist and a collaboratively conceived zine incorporating images exchanged between the artists during the process of making the exhibition. The installation unfolds across the ground and first floor of the Venetian palazzo through a series of thematic and conceptual juxtapositions\, combining works by both artists to illuminate each of their practices and surface shared subject matter and mutual obsessions. \nWhat comes into focus through the refracting lens of Jafa’s and Prince’s appropriation-based practices is an unflinching exposé on America: a country forever tarnished by its history of slavery\, defined by remarkable musical traditions rooted in Black culture\, and characterized by protest\, subcultures\, humor\, and celebrity.\nNancy Spector\, Curator\, 2026 \nThe Title\nThe title “Helter Skelter” functions as a palimpsest of meanings. It originates as a British amusement park ride. It became a 1968 song by Paul McCartney on the White Album. In late 1968\, cult leader Charles Manson appropriated it to predict an apocalyptic race war between Black and white Americans. It was also the title of a 1992 exhibition at the Museum of Contemporary Art\, Los Angeles\, which notably excluded Black visual artists. Reinvoked here\, the term contains the full complexity and messiness of its misuse in popular culture: an unruly readymade selected by the artists themselves to disrupt expectations\, and a precise expression of the composite\, collision-prone nature of this two-person show. \nKey Works\n\nArthur Jafa — Love is the Message\, the Message is Death (2016)Seven-minute video work. Widely considered among the most significant artworks of the 21st century. Collages found footage of Black American life\, joy\, violence\, spirituality\, and culture at music video intensity.\nArthur Jafa — LOLM (2022)Follow-up video work to Love is the Message. Continues Jafa’s exploration of Black American visual and sonic culture.\nArthur Jafa — SloPEX (2023)Recent video work. Part of Jafa’s sustained practice of constructing visual languages capable of carrying the emotional intensity of Black music.\nArthur Jafa — Mickey Mouse was a Scorpio (2017)Installation work from Jafa’s practice engaging appropriated popular culture imagery within a Black American cultural frame.\nRichard Prince — Cowboys seriesIconic rephotography series in which Prince rephotographed Marlboro Man cigarette advertisements\, separating image from commercial context to examine American masculine mythology.\nRichard Prince — Fashion and Gangs seriesPhotographic series extending Prince’s appropriation practice into fashion imagery and subcultural visual codes.\nCollaborative ZineA jointly conceived publication incorporating images exchanged between Jafa and Prince during the making of the exhibition. The first public document of their dialogue.\nNew Works (2026)New works by each artist produced specifically for this exhibition.\n\nThe Artists\nArthur Jafa\nArthur Jafa is a filmmaker\, cinematographer\, and visual artist whose practice centres on the relationship between Black music’s emotional and cultural intensity and the possibilities of Black visual image-making. He was Director of Photography on Julie Dash’s “Daughters of the Dust” (1991) and Spike Lee’s “Crooklyn” (1994). His 2016 video “Love is the Message\, the Message is Death” brought his work to widespread international attention; ARTnews has described it as the best artwork of the 21st century so far. He participated in the 2019 Venice Biennale main exhibition curated by Ralph Rugoff. \nRichard Prince\nRichard Prince is a central figure of the Pictures Generation\, the loosely grouped American artists who\, from the late 1970s onward\, appropriated and re-presented media images to interrogate the construction of desire\, identity\, and belief through mass culture. His Cowboys series\, Nurse Paintings\, and various celebrity and subcultural rephotography works have made him one of the most influential and legally controversial figures in late twentieth and early twenty-first century American art. He participated in the 2003 Venice Biennale. He is represented by Galerie Max Hetzler among others. \nCurator\nNancy Spector is a curator and critic who served as Artistic Director and Chief Curator of the Solomon R. Guggenheim Museum in New York. Her practice centres on contemporary American and European art with particular attention to questions of identity\, politics\, and appropriation. The Helter Skelter pairing is consistent with her long-standing curatorial interest in artists who use popular culture as critical raw material. \nContent Note\nFondazione Prada has noted that the exhibition includes artworks featuring explicit and potentially disturbing content\, including scenes of violence\, nudity\, and sexual imagery. Adults are advised to consider these factors before visiting with minors. \nEvent Details\n\n\n\nExhibition Dates\nMay 9 – November 23\, 2026\n\n\nPress Previews\nMay 6–8\, 2026\n\n\nVenue\nCa’ Corner della Regina\, Fondazione Prada Venice\, Santa Croce 2215\, Venice\, Italy\n\n\nConcurrent Event\n61st Venice Art Biennale (May 9 – November 22\, 2026)\n\n\nAdmission / Fees\nStandard Fondazione Prada admission — verify current pricing at fondazioneprada.org\n\n\nArtists\nArthur Jafa (b. 1960); Richard Prince (b. 1949)\n\n\nCurator\nNancy Spector\n\n\nWorks\n50+ including photographs\, videos\, installations\, sculptures\, paintings\, and a collaborative zine\n\n\nOrganizer\nFondazione Prada\n\n\nPublication\nExhibition catalogue published by Fondazione Prada\n\n\nContent Advisory\nContains explicit imagery including violence\, nudity\, and sexual content\n\n\n\n\n✦ ArchUp Editorial Insight\nThe conceptual problem the exhibition sets itself is genuinely difficult: to demonstrate that Jafa and Prince are in productive dialogue rather than merely adjacent in institutional space. The appropriation argument — both descend from Duchamp\, both take without permission — is real but risks flattening the very different conditions under which they take. Prince’s appropriation has consistently been legible as critique from a position of cultural proximity to its sources; his lawlessness is a form of privilege legible as irony. Jafa’s taking operates from a position of historical exclusion\, extracting imagery of Black life from cultural flows that have systematically profited from Black culture while marginalising Black authorship. These are not equivalent positions\, and whether the thematic juxtapositions the exhibition organises actually illuminate the difference rather than dissolving it is the critical question Nancy Spector’s curation must answer. The collaborative zine — images exchanged between the two artists during the making of the show — is the most interesting single element precisely because it is the evidence of actual dialogue rather than curatorial construction of one. Its content will determine whether the exhibition’s central claim holds. \n\n\nClosing Note\nSix and a half months at Ca’ Corner della Regina\, opening on the first public day of the Venice Biennale and running through almost its entire duration\, positions “Helter Skelter” as one of the most prominent collateral events of the 2026 Biennale season. For those engaged with the politics of appropriation\, the construction of American visual culture\, and the contested relationship between Black and white artistic practices in the United States\, the exhibition is among the most intellectually charged gatherings of this year.
URL:https://archup.net/event/helter-skelter-arthur-jafa-and-richard-prince/
LOCATION:Venice\, Italy
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/05/Helter-Skelter_keyvisual_sito_72dpi-960x640-1.jpg
ORGANIZER;CN="Fondazione Prada":MAILTO:info@fondazioneprada.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260509T080000
DTEND;TZID=UTC:20261122T170000
DTSTAMP:20260522T170550
CREATED:20260504T222054Z
LAST-MODIFIED:20260504T222054Z
UID:10001482-1778313600-1795366800@archup.net
SUMMARY:Hybrids. Leandro Erlich at Negozio Olivetti 2026
DESCRIPTION:Overview\nHybrids. Leandro Erlich at Negozio Olivetti is a solo exhibition by Argentine artist Leandro Erlich. It runs from May 9 to November 22\, 2026\, at the historic Negozio Olivetti in Piazza San Marco\, Venice\, Italy. The exhibition is a collateral event of the 61st International Art Exhibition – La Biennale di Venezia. \nFocus\nThe exhibition explores hybrid forms where vegetal\, mineral\, architectural\, and anthropomorphic elements intersect. It examines themes of metamorphosis\, perception\, and the blurred boundaries between nature and artifice through sculptural works. \nProgram\nThe show presents approximately twenty sculptures\, including several new and previously unseen pieces. Curated by Marcello Dantas\, the works engage in dialogue with Carlo Scarpa’s iconic architectural interior of the Negozio Olivetti. \nAudience\nThis exhibition appeals to contemporary art enthusiasts\, architects\, design professionals\, and visitors attending the Venice Biennale. \nEvent Details\n\n\n\nDates\nMay 9 – November 22\, 2026\n\n\nVenue\nNegozio Olivetti\, Piazza San Marco\, Venice\, Italy\n\n\nEvent Type\nArt Exhibition (Collateral Event – Venice Biennale)\n\n\nAccess\nOpen to the public during opening hours\n\n\nFees\nStandard museum entrance fees apply\n\n\n\n✦ ArchUp Editorial Insight\nFrom an architecture perspective\, placing contemporary hybrid sculptures within Carlo Scarpa’s refined Negozio Olivetti creates a layered confrontation between artistic intervention and modernist architectural heritage. While the exhibition highlights questions of perception and material transformation\, it risks reducing complex spatial dialogue to visual juxtaposition rather than advancing deeper critical engagement with the existing building’s historical and functional context. \nClosing Note\nThe exhibition occupies a strategic position as a collateral event during the 2026 Venice Biennale\, reflecting ongoing intersections between contemporary art and iconic architectural spaces. \nSuch site-specific projects often raise interesting questions about the relationship between art and architecture. For further examples of artistic interventions in built environments\, see our coverage of notable architectural projects.
URL:https://archup.net/event/hybrids-leandro-erlich-at-negozio-olivetti-2026/
LOCATION:Galleria Continua\, Via del Castello\, 11\, 53037 San Gimignano SI\, San Gimignano\, San Gimignano\, -\, Italy
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/05/Hybrids.-Leandro-Erlich-al-Negozio-Olivetti-designboom-1200.jpg
ORGANIZER;CN="Galleria Continua":MAILTO:sangimignano@galleriacontinua.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260515T080000
DTEND;TZID=UTC:20260601T170000
DTSTAMP:20260522T170550
CREATED:20260504T224919Z
LAST-MODIFIED:20260504T224919Z
UID:10001484-1778832000-1780333200@archup.net
SUMMARY:Nothing Follows its Spontaneous Course
DESCRIPTION:Overview\n“Nothing Follows its Spontaneous Course” is a group exhibition curated by Sihan Tara Chen\, presented during New York Design Week at Maison Mono in Brooklyn\, May 16 through June 1\, 2026\, with an opening reception on May 15\, 2026 from 6 to 9pm. The exhibition features nine artists whose works use the furniture object as a stabilizing agent within the increasingly dissonant landscape of the contemporary home. \nThe New York Design Week presentation follows the exhibition’s debut at WaterFire Arts Center in Providence\, Rhode Island in October and November 2025. Its Maison Mono venue at 150 Bayard Street in Greenpoint\, Brooklyn\, positions it within one of the city’s most active clusters of design and interiors galleries during the week’s programming. \nFocus\nThe exhibition proceeds from the premise that domestic space\, once imagined as the hearth of intimacy and dwelling\, has been reshaped by the pressures of mechanization\, material excess\, and technological mediation. Against this backdrop\, nine artists use furniture not as backdrop or prop but as the primary medium: objects that attempt to stabilize\, ground\, or hold steady within a domestic landscape under continuous and accelerating transformation. \nThe curatorial argument positions furniture at the intersection of the built environment and the body\, the everyday and the philosophical. The title is drawn from a fragment of thought about spontaneity and its absence: in a home environment where nothing is accidental and every surface is designed or curated\, what kind of object can still carry the trace of the unmediated? The nine artists approach this question from different material and conceptual positions. \nThe exhibition proceeds from the premise that domestic space\, once imagined as the hearth of intimacy and dwelling\, has been reshaped by the pressures of mechanization\, material excess\, and technological mediation.\nNothing Follows its Spontaneous Course\, Curatorial Statement\, 2026 \nExhibiting Artists\nAxel Anderson\nAnkita Bhat\nSihan Tara Chen\nGreg Kmieciak\nZoe Maxwell\nOlivia Moon\nMaggie McCreery\nMeri Sanders\nXinchun Xie\nCurator\nSihan Tara Chen is both curator and exhibiting artist in the show\, a position that makes the exhibition’s authorship explicit rather than hidden. Her curatorial practice engages the relationship between designed objects\, domesticity\, and the conditions of contemporary living. Presenting the show at Maison Mono\, a Brooklyn space known for its engagement with furniture and objects at the boundary of art and design\, is consistent with the exhibition’s thematic framework. \nNew York Design Week Context\nThe exhibition opens on May 15\, 2026\, the first day of New York Design Week’s primary programming window. Design Week in New York has increasingly supported gallery and independent exhibition programming in Brooklyn and Lower Manhattan alongside its institutional components at institutions such as the Cooper Hewitt. “Nothing Follows its Spontaneous Course” at Maison Mono is part of this decentralised geography of design exhibition during the week\, placing furniture-as-art within the broader conversation about material culture and domestic space that Design Week activates annually. \nAudience\nThe exhibition is open to the general public at Maison Mono\, Brooklyn. Its audience spans design professionals\, artists\, collectors\, and general visitors engaged with the intersection of furniture\, contemporary art\, and domestic space. The two-and-a-half-week run through June 1\, 2026 gives it an extended presence beyond the Design Week programming window itself. \nEvent Details\n\n\n\nOpening Reception\nMay 15\, 2026\, 6–9pm\n\n\nExhibition Dates\nMay 16 – June 1\, 2026\n\n\nVenue\nMaison Mono\, 150 Bayard St Store 1\, Brooklyn\, NY 11222\n\n\nContext\nNew York Design Week 2026\n\n\nAdmission / Fees\nFree and open to the public (gallery standard)\n\n\nCurator\nSihan Tara Chen\n\n\nArtists\nAxel Anderson\, Ankita Bhat\, Sihan Tara Chen\, Greg Kmieciak\, Zoe Maxwell\, Olivia Moon\, Maggie McCreery\, Meri Sanders\, Xinchun Xie\n\n\nPrevious Venue\nWaterFire Arts Center\, Providence\, RI (October 23 – November 9\, 2025)\n\n\nOfficial Site\nnothingfollows.cargo.site\n\n\n\n\n✦ ArchUp Editorial Insight\nThe curatorial premise of “Nothing Follows its Spontaneous Course” is precise enough to be genuinely generative: it does not treat furniture as a category of object but as a site of inquiry into the contemporary home’s loss of spontaneity and the possibility of objects that resist complete mediation. Whether the nine works succeed in holding this premise rather than illustrating it depends on the specificity of each artist’s formal decisions\, which the exhibition’s documentation does not yet make fully legible. The decision to situate the show during New York Design Week at Maison Mono rather than in a conventional gallery or art space is itself a curatorial statement: the venue’s position at the boundary of art and design mirrors the exhibition’s own thematic location. Sihan Tara Chen’s dual role as curator and exhibiting artist is the most interesting structural choice — it makes the show’s claim personal and risks undermining its critical distance in equal measure. \n\n\nClosing Note\nA travelling group exhibition built around a single\, well-defined curatorial argument\, “Nothing Follows its Spontaneous Course” uses New York Design Week as the platform for its second and expanded presentation. For those engaged with the politics of domestic space\, the status of the furniture object between art and use\, and the question of what design can still mean in an over-designed domestic environment\, the Maison Mono showing offers a focused and accessible entry point.
URL:https://archup.net/event/nothing-follows-its-spontaneous-course/
LOCATION:Maison Mono\, Maison Mono\, 150 Bayard St Store 1\, Brooklyn\, NY 11222\, Brooklyn\, NY\, -\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/05/Nothing-Follows-its-Spontaneous-Course-500x600-1.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260515T080000
DTEND;TZID=UTC:20260628T170000
DTSTAMP:20260522T170550
CREATED:20260327T232158Z
LAST-MODIFIED:20260327T232353Z
UID:10001345-1778832000-1782666000@archup.net
SUMMARY:Beta – Timișoara Architecture Biennial 2026
DESCRIPTION:Overview\nBETA – the Timișoara Architecture Biennial is holding its sixth edition in Timișoara\, Romania\, from May 15 to June 28\, 2026. Organised by the Romanian Order of Architects – Timiș Territorial Branch\, it is the main architectural event in western Romania and functions as a Euroregional platform with connections to Serbia and Hungary. The 2026 edition belongs to the fields of architecture\, urban design\, construction\, and spatial practice. \nFocus\nThe 2026 edition is themed In Practice\, As Opposed to ‘In Theory’\, curated by Andreas Kofler and Tudor Vlăsceanu. It directly challenges the tendency of architecture biennials to privilege scenography and representation over concrete\, site-specific action. Rather than staging an exhibition about architecture\, the biennial proposes to become an experimental construction site\, where projects are built\, negotiated\, and leave lasting traces in an existing building. \nThe main venue is the former Ion Mincu Technical College in Timișoara\, approached as a living laboratory combining construction site\, exhibition space\, and shared learning environment. For those following how architecture biennials are rethinking their own format and social purpose\, ArchUp’s coverage of the Copenhagen Architecture Biennial 2025 offers a useful parallel on how European biennials are shifting from representation toward direct intervention. \nProgram\nThe biennial launched three open calls inviting architects\, designers\, artists\, and interdisciplinary teams to engage directly with the former Ion Mincu Technical College. Call 1 sought built spatial interventions that repair\, question\, or transform the building’s interior\, with 5 to 8 proposals selected. Call 2 focused on outdoor and threshold interventions connecting circulation\, landscape\, and the adjacent Botanical Park\, with around 3 projects selected. Call 3 structured a six-week relay of on-site residencies\, with 3 offices each occupying the former canteen for one week to develop and publicly present research on specific aspects of the building’s transformation. \nThe biennial is supported through the New European Bauhaus (NEB) framework\, in partnership with the Brussels Maîtres Architectes (BMA)\, and is a member of LINA\, the European architecture platform successor to the Future Architecture Platform. Those interested in how adaptive reuse and working with existing buildings is reshaping architectural discourse will find a relevant reference in ArchUp’s analysis of adaptive reuse as a sustainable approach to building transformation. \n“The biennial becomes an experimental construction site — a testing ground where projects are built\, negotiated\, and leave long-lasting traces.” \nFor those tracking how European cities are developing cross-border platforms for responsible architectural practice\, ArchUp’s coverage of the Biennale Gherdëina 2026 offers another example of how smaller-scale European biennials are carving out distinct identities outside the major international circuits. \nAudience\nThe biennial is open to the public and relevant to architects\, designers\, researchers\, students\, and practitioners engaged with questions of built practice\, adaptive reuse\, participatory design\, and the role of architecture biennials as instruments of spatial change rather than cultural display. \nEvent Details\n\n\n\nDates\nMay 15 – June 28\, 2026\n\n\nMain Venue\nFormer Ion Mincu Technical College\, Timișoara\, Romania\n\n\nEvent Type\nArchitecture Biennial\, Exhibition\, Construction Programme\, Residencies\n\n\nAccess\nOpen to the public\n\n\nFees\nFree public access. Participating teams in open calls received a production budget of up to €5\,000 per project (Call 2)\, with travel and accommodation covered for up to 2 people per team from within Europe\, or up to €1\,000 per team from outside Europe.\n\n\n\n✦ ArchUp Editorial Insight\nThe curatorial premise of BETA 2026 is one of the more self-aware propositions to emerge from the European biennial circuit recently. By naming the gap between theory and practice in its very title and then structuring the entire event around closing that gap through actual construction\, the biennial performs an institutional critique of itself and of the format it operates within. The choice to work with a former technical college rather than a cultural flagship is also pointed: it positions the biennial outside the prestige economy of heritage venues and aligns it with the kind of ordinary\, unremarkable building stock that most of the profession actually deals with. The three-call structure\, combining permanent interventions\, threshold works\, and residency-based research\, distributes risk across different registers of commitment and scale. What remains to be seen is whether the built interventions survive the biennial and genuinely alter the building’s life\, or whether they are absorbed into the logic of the temporary installation despite the organisers’ intentions. The New European Bauhaus partnership adds an institutional layer that broadens the funding base but also introduces the question of how much the EU framework shapes the curatorial agenda. \nClosing Note\nBETA 2026 is a modest-scale but methodologically ambitious event. Its significance lies less in its size and more in the seriousness with which it interrogates what an architecture biennial is actually for.
URL:https://archup.net/event/beta-timisoara-architecture-biennial-2026/
LOCATION:Former Ion Mincu Technical College\, Timișoara\, Timișoara\, Timișoara\, -\, Romania
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/webp:https://archup.net/wp-content/uploads/2026/03/Website_banner.webp
ORGANIZER;CN="Beta":MAILTO:contact@betacity.eu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260516T080000
DTEND;TZID=UTC:20261206T170000
DTSTAMP:20260522T170550
CREATED:20260504T225911Z
LAST-MODIFIED:20260504T225911Z
UID:10001486-1778918400-1796576400@archup.net
SUMMARY:Iris van Herpen: Sculpting the Senses
DESCRIPTION:Overview\nThe Brooklyn Museum presents “Iris van Herpen: Sculpting the Senses\,” the North American debut of a major exhibition celebrating one of the most innovative fashion designers of the 21st century\, running May 16 through December 6\, 2026 on the fifth floor of the museum’s Morris A. and Meyer Schapiro Wing and Iris and B. Gerald Cantor Gallery. It is the first major New York presentation of Van Herpen’s work. \nDebuting in 2023 at the Musée des Arts Décoratifs in Paris\, the exhibition has since traveled to Queensland Art Gallery\, Gallery of Modern Art in Brisbane\, Singapore’s ArtScience Museum\, and Kunsthal Rotterdam before arriving at Brooklyn. The Brooklyn presentation is organized by Matthew Yokobosky\, Senior Curator of Fashion and Material Culture\, with Imani Williford\, Curatorial Assistant. It is supported by the Simons Foundation as part of its “Infinite Sums” initiative. \nFocus\nMore than 140 extraordinary haute couture creations are shown alongside contemporary artworks and designs\, as well as scientific artifacts and natural history specimens such as coral\, fossils\, and skeletons. Rare archival materials and a soundscape by composer Salvador Breed add to this interdisciplinary\, multisensory experience. \nThe exhibition situates Van Herpen in a cross-disciplinary framework that bridges couture with scientific exploration and contemporary art. Her work draws on disciplines as varied as mathematics\, neuroscience\, marine biology\, paleontology\, mycology\, mineralogy\, and astronomy. The exhibition does not proceed chronologically but foregrounds Van Herpen’s ongoing exploration of innovation\, her collaborations with scientists\, engineers\, and artists\, and her integration of traditional couture technique with new technologies. \nTaking visitors from the depths of the ocean to the outer reaches of the universe\, Sculpting the Senses illuminates the core questions of Van Herpen’s practice — about the body in space\, its relationship to fashion and the environment\, and its future in a rapidly changing world. The exhibition also includes an evocation of Van Herpen’s atelier\, offering visitors direct engagement with the handcraftsmanship and tactile nature of haute couture creation. \nThis exhibition is not about looking back\, but about encountering fashion as a living\, evolving discipline.\nMatthew Yokobosky\, Senior Curator of Fashion and Material Culture\, Brooklyn Museum \nExhibition Themes\n\nThe mystery and might of water\nThe architecture of the skeleton and anatomical systems\nThe physics of motion\nThe perception of sound and light\nThe generative interconnectedness of nature\nBiomimicry and fractal geometry\n\nArtists and Designers in the Exhibition\nPhilip Beesley\nLanny Bergner\nRogan Brown\nKatsumata Chieko\n目 [Mé] collective\nCasey Curran\nWim Delvoye\nTara Donovan\nHarold Edgerton\nSenju Hiroshi\nKim Keever\nNick Knight\nFerruccio Laviani\nTomáš Libertíny\nCourtney Mattison\nRen Ri\nJacques Rougerie\nFujikasa Satoko\nDavid Spriggs\nJames Turrell\nTim Walker\nRob Wynne\nAbout Iris van Herpen\nSince founding her Maison in 2007\, Van Herpen has continuously woven together traditional craftsmanship with groundbreaking technology and radical innovation\, pushing the boundaries of materiality\, silhouette\, and movement. Her work forms a sensory language where nature\, art\, and science converge\, transforming the body through design. Her work is held in major museum collections including the Metropolitan Museum of Art\, the Victoria and Albert Museum\, and the Palais de Tokyo. Her designs have been worn by Beyoncé\, Björk\, Cate Blanchett\, Miley Cyrus\, Lady Gaga\, and Ariana Grande. \nRelated Events\n\n\nMonday May 11\, 2026\nBrooklyn Artists Ball (15th Annual)\nThe Museum’s annual gala honoring Iris van Herpen. Cocktail reception 6pm\, seated dinner 7:30pm\, After Party 9pm with live DJ Swizz Beatz. Tickets from $150 (After Party) to $3\,000+ (Ball).\n\n\nThursday May 14\, 2026\, 7–8:30pm\nBrooklyn Talks: Iris van Herpen in conversation with Vanessa Friedman\nVan Herpen in conversation with Vanessa Friedman\, New York Times fashion director and chief fashion critic. Followed by a first-look preview of the exhibition before its public opening. Tickets available online.\n\n\nSaturday May 16\, 2026\nOpening Reception\nPublic opening of Sculpting the Senses with complimentary drinks and special activations.\n\n\nAudience\nThe exhibition is open to the general public at the Brooklyn Museum with timed tickets. Its subject\, ranging from material innovation and biological structures to cosmology and sound\, gives it reach well beyond a fashion audience into architecture\, design\, science\, and art. Its nearly seven-month run from mid-May through early December 2026 makes it one of the most extended fashion exhibitions in New York this year. \nEvent Details\n\n\n\nExhibition Dates\nMay 16 – December 6\, 2026\n\n\nLocation\nMorris A. and Meyer Schapiro Wing and Iris and B. Gerald Cantor Gallery\, 5th Floor\, Brooklyn Museum\, 200 Eastern Pkwy\, Brooklyn\, NY 11238\n\n\nAdmission / Fees\nTimed tickets required — purchase via brooklynmuseum.org. Members free.\n\n\nObjects\n140+ haute couture creations\, contemporary artworks\, scientific artifacts\, natural history specimens\n\n\nOriginal Organization\nMusée des Arts Décoratifs\, Paris. Curated by Cloé Pitiot and Louise Curtis.\n\n\nBrooklyn Organization\nMatthew Yokobosky (Senior Curator\, Fashion and Material Culture) and Imani Williford (Curatorial Assistant)\n\n\nPresenting Support\nSimons Foundation (“Infinite Sums” initiative)\n\n\nAdditional Support\nBrooklyn Museum Exhibition Fund; The Coby Foundation; John and Amy Griffin Foundation\n\n\nSoundscape\nSalvador Breed (composer)\n\n\nTour History\nMusée des Arts Décoratifs\, Paris (2023); QAGOMA\, Brisbane; ArtScience Museum\, Singapore; Kunsthal\, Rotterdam; Brooklyn Museum (North American debut)\n\n\n\n\n✦ ArchUp Editorial Insight\nVan Herpen’s practice is architecturally consequential in a way that most fashion is not: her engagement with structural systems\, material research\, and biological geometry positions her work closer to experimental architecture and product design than to conventional couture. The inclusion of Philip Beesley\, Jacques Rougerie\, and Wim Delvoye alongside Van Herpen’s garments is not decorative — these are figures whose work shares her preoccupation with kinetic structure\, underwater architecture\, and the boundary between living and built form. The Brooklyn Museum’s historical identity as an institution that has always housed both fine art and natural history collections makes it a more fitting venue for this exhibition than a fashion-specialist museum would be: the coral\, fossils\, and skeletons shown alongside the garments are not props but genuine dialogue partners. The seven-month run and the Simons Foundation’s “Infinite Sums” backing signal that the institution is treating this as a signature exhibition rather than a seasonal programme. \n\n\nClosing Note\nAfter three years and four international venues\, “Iris van Herpen: Sculpting the Senses” arrives in North America at a museum with the institutional DNA to do it justice: a combination of art\, science\, and natural history collections that mirrors exactly the cross-disciplinary framework Van Herpen’s practice occupies. For those engaged with material culture\, biomimicry\, structural innovation\, and the future of the body in designed space\, the exhibition is among the most substantive presentations on offer in New York this year.
URL:https://archup.net/event/iris-van-herpen-sculpting-the-senses/
LOCATION:Brooklyn Museum\, Morris A. and Meyer Schapiro Wing and Iris and B. Gerald Cantor Gallery\, 5th Floor\, Brooklyn\, NY\, -\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://archup.net/wp-content/uploads/2026/05/IVH-PARIS-MUSEE-50.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260519T080000
DTEND;TZID=UTC:20260524T170000
DTSTAMP:20260522T170550
CREATED:20260331T212643Z
LAST-MODIFIED:20260331T212643Z
UID:10001371-1779177600-1779642000@archup.net
SUMMARY:Carthage Expo Bâtiment 2026
DESCRIPTION:Overview\nThe Carthage Expo Bâtiment 2026 is the international construction and building exhibition in Tunisia. It takes place at the Parc des Expositions du Kram in Tunis and belongs to the field of construction\, building materials\, and architecture. \nFocus\nThe event focuses on products\, materials\, equipment\, and technologies for the construction and building sector. It highlights industrial solutions\, innovations in building components\, and opportunities for trade in the North African market. \nProgram\nThe program centers on an exhibition featuring manufacturers\, suppliers\, and representatives of construction materials and equipment. It includes networking opportunities\, educational sessions\, and workshops alongside the display of products and technologies. \nAudience\nThis event targets professionals from the construction industry\, architects\, engineers\, contractors\, suppliers\, and industry stakeholders from Tunisia and neighboring countries. \nEvent Details\n\n\n\nDates\nMay 19–24\, 2026\n\n\nVenue\nParc des Expositions et Centre de Commerce International de Tunis – Le Kram\, Tunis\, Tunisia\n\n\nEvent Type\nInternational Trade Fair / Exhibition\n\n\nAccess\nProfessional and trade visitors\n\n\nFees\nNot publicly specified (trade registration typical)\n\n\n\n✦ ArchUp Editorial Insight\nFrom an architecture perspective\, this regional trade fair underscores the practical supply side of building projects in Tunisia and North Africa. While it effectively connects manufacturers with local demand for materials and technologies\, the exhibition format often prioritizes product presentation over critical architectural discourse. This can result in limited exploration of how new materials address contextual design challenges\, climate adaptation\, or spatial quality in contemporary North African architecture. \nClosing Note\nThe event maintains a steady position as a biennial platform for construction sector exchanges in the Tunisian market. \nReaders interested in regional practices may explore our section on architecture in North Africa. For broader context\, see coverage of construction trends and architecture events across the Mediterranean region. \n“Trade fairs in the building sector reveal material availability\, yet architectural application demands separate critical evaluation.”
URL:https://archup.net/event/carthage-expo-batiment-2026/
LOCATION:Parc des expositions du Kram\, 2015 Le Kram Tunis\, Tunis\, Tunis\, -\, Tunisia
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/webp:https://archup.net/wp-content/uploads/2026/03/Visuel-Carthage-2026-2.webp
ORGANIZER;CN="Soci%C3%A9t%C3%A9 des Foires Internationales de Tunis":MAILTO:ift.com@fkram.com.tn
END:VEVENT
END:VCALENDAR