Eliana Willis

The 21st Serpentine Pavilion designed by artist Theaster Gates will open to the public in London on Friday. Gates is the first non-architect to be awarded the estimable commission, though it was executed with the help of starchitect David Adjaye and associates. The pavilion’s debut will kick off a summer of programming that includes music performances, workshops, and other events clustered around the project.
Titled Black Chapel, the black cylindrical building is an ode to the artist’s late father, who was a roofer, and is also inspired by a breadth of architectural and artistic touchstones including the Rothko Chapel in Houston, the bottle kins that mark the industrial landscape of Stoke-on-Trent in England, Musgum mud huts in Cameroon, and the circular chapels of San Pietro.
Inside, an oculus allows light to bleed into the cavernous space, which is adorned with seven of Gates’s tar paintings, in another homage to his father’s work.
Outside stands a bronze bell the artist salvaged from the site of St. Laurence Catholic Church, which was once a landmark in Chicago’s South Side, where Gates’s Rebuild Foundation is located. The bell “acts as a call to assembly, congregation, and contemplation” while also serving as a reminder of the widespread erasure of these community sites and the people they served.
“The name Black Chapel is important because it reflects the invisible parts of my artistic practice,” Gates said in a statement. “It acknowledges the role that sacred music and the sacred arts have had on my practice, and the collective quality of these emotional and communal initiatives. Black Chapel also suggests that in these times there could be a space where one could rest from the pressures of the day and spend time in quietude.”
See more pictures of Black Chapel below. 
Serpentine Pavilion 2022 designed by Theaster Gates © Theaster Gates Studio. Photo: Iwan Baan. Courtesy: Serpentine.
Serpentine Pavilion 2022 designed by Theaster Gates © Theaster Gates Studio. Photo: Iwan Baan. Courtesy: Serpentine.
Serpentine Pavilion 2022 designed by Theaster Gates © Theaster Gates Studio. Photo: Iwan Baan. Courtesy: Serpentine.
Serpentine Pavilion 2022 designed by Theaster Gates © Theaster Gates Studio. Photo: Iwan Baan. Courtesy: Serpentine.
Theaster Gates. © Rankin Photography.
The Serpentine Pavilion is open every day, 10 a.m. to 6 p.m., from June 10–October 16.
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In the mid-1600s, Brooklyn’s East River was a bustling hub of commerce and an integral part of the network that linked Africa and Europe with the Americas and the Caribbean. It served as a shipping port, maritime harbor, and ferry landing with “finger piers” jutting from the shore where warehouses were built for storage.
Now, the historic area is the site of a group exhibition titled “Black Atlantic,” presented by the Public Art Fund and co-curated by artist Hugh Hayden.
The title of the show is taken from Paul Gilroy’s book Black Atlantic: Modernity and Double Consciousness. Like the book, the show is intended to “illustrate a counterpoint to a monolithic perception of Blackness, and is reflective of the multitude of ways in which individuals can create a new vision within the context of American culture that is expansive, malleable and open to all.”
The five artists included in the show—Leilah Babirye, Hugh Hayden, Dozie Kanu, Tau Lewis, and Kiyan Williams—are all roughly of the same generation, their distinct experiences inform a wide range of identities, all of which come through in their sculptural commissions.

Babirye’s hulking nine-foot-tall sculptures titled Agali Awamu (Togetherness) are made from hollowed tree trunks fused with found objects and welded metal, creating the effect of Transformer-like totems harkening back to the artist’s West African upbringing. Babirye fled her native Uganda to escape homophobic persecution, and the black-colored monumental sculptures, which echo the high-rise architecture of New York City, represent “a chosen, queer family, whose visibility in public space is a beacon of empowerment.”
Williams’s work, Ruins of Empire, reflects on the surrounding landmarks, specifically the Statue of Liberty and its forebear in Washington, D.C., the Statue of Freedom, which was erected and constructed by enslaved people during theCivil War. Williams’s vision is partially buried in the ground, a relic of American idealism, which is inextricably linked to subjugation.
Below, see pictures of all the artworks included in “Black Atlantic” at Brooklyn Bridge Park. The show is on view through November 27, 2022. 
Tau Lewis, We pressed our bellies together and kicked our feet, we became something so alien that we no longer had natural predators; We watched humankind evolve as we absorbed into the sea floor, the moon stared down at us and told us the Earth had a heavy heart; We wondered if the angels had abandoned us, or if they simply changed shape without letting us know. Every night creatures vanished, every morning strangers would arrive, (all 2022). Courtesy of the artist and Night Gallery. Photo: Nicholas Knight. Courtesy of Public Art Fund.
Leilah Babirye, Agali Awamu (Togetherness) (2022). Courtesy of the artist, Robichaux, NY, and Stephen Friedman Gallery, London. Photo: Nicholas Knight, Courtesy of Public Art Fund NY.
Dozie Kanu, On Elbows (2022). Courtesy of the artist and Project Native Informant, London. Photo: Nicholas Knight. Courtesy Public Art Fund.
Hugh Hayden, The Gulf Stream (2022). Courtesy of the artist and Lisson Gallery. Photo: Nicholas Knight, Courtesy of Public Art Fund, NY.
Hugh Hayden, The Gulf Stream (2022). Courtesy of the artist and Lisson Gallery. Photo: Nicholas Knight, Courtesy of Public Art Fund, NY.
Tau Lewis, We pressed our bellies together and kicked our feet, we became something so alien that we no longer had natural predators; We watched humankind evolve as we absorbed into the sea floor, the moon stared down at us and told us the Earth had a heavy heart; We wondered if the angels had abandoned us, or if they simply changed shape without letting us know. Every night creatures vanished, every morning strangers would arrive, (all 2022). Courtesy of the artist and Night Gallery. Photo: Nicholas Knight. Courtesy of Public Art Fund.
Kiyan Williams, Ruins of Empire (2022). Courtesy of the artist. Photo: Nicholas Knight, Courtesy of Public Art Fund, NY.
Leilah Babirye, Agali Awamu (Togetherness) (2022). Courtesy of the artist, Robichaux, NY, and Stephen Friedman Gallery, London. Photo: Nicholas Knight, Courtesy of Public Art Fund NY.
Dozie Kanu, On Elbows (2022). Courtesy of the artist and Project Native Informant, London. Photo: Nicholas Knight. Courtesy Public Art Fund.
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There may be only 24 artists, but the stage to showcase their creations is likely to be one of the world’s biggest: the magnificent Dolomite mountain range in northeastern Italy, a UNESCO World Heritage site with 18 peaks as high as 10,000 feet. Yet the breathtaking landscape is more than just the stage; it is also a backdrop, and a source of inspiration for a range of poetic artworks reflecting on the complex relations between humans and the natural environment.
“In many cases, you see a mountain or a piece of land literally holding the work,” said Serpentine Gallery ecology advisor Lucia Pietroiusti, who co-curated this year’s Gherdëina Biennale with writer and curator Filipa Ramos. Artworks on show are scattered across various venues in Val Gardena, in the heart of the Dolomites.
“This is not a biennale of 240 artists. There are 24 practices. You are not looking at curatorial visions. We have some hints and conversations, but it’s the narrative of the artists themselves, and the context that holds them,” Pietroiusti said.
Eduardo Navarro, Spathiphyllum Auris (2022). Photo: Tiberio Sorvillo.
Family Business
Despite being in its eighth edition, the Gherdëina Biennale appears to be the art world’s best-kept secret. Most of the foreign journalists and critics who attended the opening events said they had never heard of the biennale before.
According to gallerist Doris Ghetta, the show began in 2008 as a parallel exhibition to Manifesta 7, with just five artists. It has expanded gradually over time, and now operates with a €450,000 ($478,957) budget funded by local authorities and through sponsorships.
The goal, Ghetta said, was “to introduce them to our culture, arts and crafts, languages” and to “give artists the possibility to develop something specific.”
Angelo Plessas, The Hand of the Noosphere (2022). Photo: Tiberio Sorvillo.
Some of the participating artists in this edition were brought to the region on research trips over the past year to meet local craftspeople, members of the artistic community, and historians and experts in geology, the natural environment, and mythology.
Each artist went home with knowledge and connections to create works telling stories of the region, while exploring the possibilities human coexistence with nature. The artists also bonded with each other, forming an intricate network among themselves that mirrors that of the deep roots of trees and plants populating the mountain range. But not all the works on view are new: there are also paintings by the late Etel Adnan and installation works by Jimmie Durham, who died as the exhibition was being organized.
“The dynamic in which everything happened was much more organic,” said Argentinian artist Eduardo Navarro, who mounted a gigantic sculpture titled Spathiphyllum Auris at the foot of the Dolomites. “Since there was a lack of bureaucracy, it is as if my family was helping me. My family has always been very supportive, in an organic and a very loving way. And this biennale reminds me of that energy.”
At left, Kyriaki Goni’s installation and video work, The mountain-islands shall mourn us eternally (data garden dolomites) (2022). Photo: Tiberio Sorvillo.
Memories of the Mountains
Navarro’s 26-foot-tall, 11,000-pound flower sculpture may be made of concrete, but the artist tried to strip away as many human-made architectural elements as possible. And still, there is a little door on one side that allows visitors to enter and sit inside the belly of the flower, to take a moment to meditate on the sound and energy channeled by the surroundings.
“When you see a flower, the flower is observing itself, through you,” Navarro said. “You cannot separate things from the universe.”
The region’s geological history has also inspired Greek artist Kyriaki Goni, who created a video work titled The mountain-islands shall mourn us eternally (data garden dolomites), in which a non-human voice posing as a hybrid indigenous plant addresses humanity about its history, and as an oracle foretells the grim future of the Earth should climate change continue.
“Place was very much present and important in this biennale,” Goni told Artnet News. “I learned a lot about this place, and this knowledge and experience were infused with the subjects I focus on in my practice.”
Ignota, Memory Garden (2022). Commissioned by the Gherdëina Biennale. Photo: Tiberio Sorvillo.
Spirit, Be With Me
One key element in the show is spirituality: for its commissions, titled Memory Garden and Seeds, the artist collective Igonta (Sarah Shin and Ben Vickers) installed works in a garden that conjure a healing ritual following the moon’s cycle. The artists also performed live rituals on site.
Among the most elaborate works is Alex Cecchetti’s SENTIERO, an intimate performance that involved a three-hour hike up the mountains, led by a performer who acts as a guide. During my visit, the performer guided only one or two audience members each time, reciting poems and stories along the way while offering a helping hand from time to time through challenging trails.
Alex Cecchetti, SENTIERO (2022). Photo: Tiberio Sorvillo.
Upon reaching the top of the mountain, visitors were offered soup and bread made with local ingredients, conveying a sense of gratitude towards the surrounding non-human species inhabiting the mountains.
Cecchetti began developing his work after he first set foot in the area last June, and has walked the path multiple times through different seasons.
“The path is conceived as life itself,” the artist said. “I wanted a shift. I wanted everyone to feel the immortality of life through the dissolving of their individuality. We are nature—we are nature as much as a tree. We cannot be disconnected.”
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