Eliana Willis

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    Fifth Edition of Parees Fest in Asturias, North of Spain

    The fifth edition of contextual muralism festival Parees Fest, promoted by the Municipal Foundation of Culture and which took place between September 13 and 19, has closed a fiveyear period of mural interventions with some thirty large-format works by local, national and international artists.Parees Fest has achieved in these five years that neighbors, organizations and specialists get involved in the joint elaboration of murals that are always tributes to Asturian characters, traditions and events, in a unique mix of art and history. Almost all the neighborhoods of Oviedo, and towns such as Olloniego, Trubia or Tudela Veguín, have walls that are no longer just walls, but memory and people.This year was a really special edition as we could manage to purpose again some activities (last year was under all the restrictions due to Covid-19), and also celebrated proudly this fifth anniversary.Mural by Alba Fabre SacristánThe Catalan artist Alba Fabre Sacristán created an exquisite impressionist mural, where light and movement draw the figure of two “Sidros” captured in full jump.The “Sidros” and the “Mascaradas de Invierno” are Asturian and pagan traditions. Members of these groups (traditionally men, but some women can wear the costume since 2019) are celebrating jumping, dancing, making noise with cowbells, and with improvised sarcastic comedy about what happened in the village during the year. This ritual existed in various places, but almost disappeared with Franco.It’s related to Winter’ solstice, fertility and the beginning of adulthood for young men. On the contrary of Carnival, masks are not to hide, but to show the archetypes of the characters of the comedy (the ugly ones, the handsome ones, animals, natural elements…)Mural by Emily EldridgeThe Primitive “Camino de Santiago”, different from the busiest French Way, starts in Oviedo and takes pilgrims to Santiago de Compostela.In 2015, it was recognized by the UNESCO, along with the “Camino del Norte”, as a “World Humanity Heritage Site”, the highest distinction that a cultural asset can receive. It is a magnificent route that crosses Asturias and Galicia, but is also known for its difficulty, due to the peculiarity of the landscape (all guides recommend an advanced level of hiking).The American artist Emily Eldridge created after some meeting with historians a mural full of colours, representing a “modern” pilgrim, with a skirt and painted nails, walking happily towards her next stage.Mural by Foni ArdaoAmong Parees Fest’ Asturian themes, those with literary content stand out, such as the murals dedicated to Clarín or Dolores Medio. To illustrate the famous story “Montesín” by María Josefa Canellada, a philologist and one of the main Asturian writers of the last century, the Asturian artist Foni Ardao explored the tender relationship between the lost goat and her little caretakers.A well-deserved honour to the first children’s book in Asturian, written in 1979, where we can see the goat Montesín in the arms of the girl, in the lands below l’Escorial, while the boy plays the guitar with his friend the magpie on his shoulder. Surrounded by nature and heated by a fire, the characters convey a lot of peace and sweetness.Foni added to his mural a tribute to his mother, Margarita, who died just over a year ago, represented by the flower bearing her name in the girl’s hair.Mural by Luogo ComuneFor this edition, the Italian Luogo Comune has painted a huge mural dedicated to Oviedo. The inspiration has been provided by citizen testimonies, the personal stories of dozens of people who participated in the campaign “What do you think makes the city of Oviedo special?”.The answers to this question, launched by Parees Fest and the City Council’s Citizen Participation Area, were transferred to the artist, who has composed a work that combines history and nature, the pre-Romanesque past and the proximity of the mountain in its iconography.Check out below for more photo from Parees Fest 2021. More

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    Ardú Street Art Project 2021 in Cork, Ireland

    Ardú Street Art project arrived in Cork October 2020 injecting a burst of colour, vibrancy, and life into the city in lockdown. Seven of Ireland’s most respected and renowned street artists were invited to create key city-centre locations, in response to a theme inspired by the 1920 Burning of Cork. Find work by Deirdre Breen at Wandesford Quay, Maser at The Kino, James Earley at Henry Street, Peter Martin at Kyle Street, Shane O’Driscoll at Harley Street, Aches at Anglesea Street, and Garreth Joyce at Liberty Street.The Ardú team are delighted to announce their return to Cork city’s streets from today September 27th, until October 11th, with four more large scale murals to brighten up the city centre landscape. Commissioning artwork from home grown talent of the highest level is the main aim of Ardú. The 2021 edition will welcome artists — Friz (Belfast), Shane O’Malley (Galway), Conor Harrington (London), and Asbestos (Dublin).Ardú organisers Shane O’Driscoll, Paul Gleeson and Peter Martin are excited to present the second edition of Ardú to the public, in a safe space where you can observe the murals come to life outdoors. “At a time when we face shared and personal challenges, each of our artist’s murals are a rallying cry to the city – a call to remember that we have been through terrible times before and we rose up. We can do it again.Having made such a positive impact on the city last year, we are excited to be back with another line-up of inspiring artists to transform Cork city’s streets.”Friz is the first artist to kick off this year’s series, she is currently painting at St Finbarr’s Road, Cork. Further details on the Ardú Street Art project, including each mural location, will be announced soon. Keep up to date with the process by following Ardú on social media: Twitter @ArduStreetArt / https://twitter.com/ArduStreetArt | Instagram: @ArduStreetArt | www.arducork.ie More

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    “Sweet Freedom” by Max Sansing in Gothenburg, Sweden

    This summer Swedish street art organisation Artscape joined the city of Gothenburg to help the city celebrate its 400-year anniversary. American artist Max Sansing created the eighth and finishing mural artwork ’Sweet Freedom’, making his first mark on European soil.Sansing has in the last few years become one of the US most prominent urban artists seamlessly blending his roots in graffiti with classic figurative oil painting aesthetics and strong symbolism. His colourful expression, often featuring portraits of young black people, has now found its way to the neighbourhood of Biskopsgården, placed on the public sports hall at one of the local elementary schools.“To be able to invite Max Sansing feels amazing. He is a politically conscious artist who unites symbolism, realism and expressive colours in a truly inspiring way and it will put Biskopsgården on the international art scene”, says Daniel Wakeham one of Artscape’s founders.Max Sansing received his informal training on the Chicago graffiti scene and has since then graduated from American Institute of Art. Aside from his murals he has had work on display in galleries reaching from Washington to Miami. For ’Sweet Freedom’, Sansing took inspiration both from Swedish nature and the Ghanesian expression Sankofa, translating roughly to connecting to your past for wisdom.The mural was made possible through a generous grant by the Sten A Olsson foundation for culture and science. “The art Artscape produces is free and available to all and through art their aim is to include and inspire. Our hope is that this joint effort will help to create a sense of pride and positive identity in Biskopsgården” comments chairman of the board Madeleine Olsson.“Biskopsgården is an area where hardly any of the events surrounding the 400th anniversary take place. A big and impressive work of art in the neighbourhood can both bring new visitors as well as underline a sense of community in the area. We’re really grateful for the support of Stenastiftelsen making this mural possible”, adds Tor Hedendahl, one of Artscape’s founders.The three storey high work of art was finished in September, being the latest piece in the region’s ever expanding collection of international street art. Before flying back home Sansing praised the Swedish working environment for how free he was to follow his creative intuition. “I didn’t even need to show a sketch and could figure stuff out as I went along. I kind of want to take this mural home with me. It was something special.” More

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    It’s on Us to Queer the Metaverse: A Digitally Savvy Athens Biennale Tackles the Promises and Pitfalls of Web 3.0

    Of the many era-defining societal shifts and inequities that the Covid-19 pandemic has brought into focus and accelerated, the change in the ways we use and navigate the metaverse are perhaps the least widely recognized and understood. Our dependence on the virtual realm seemed to swell overnight, as those who could moved their work to online rooms, minted NFTs, traded cryptocurrencies, and sent their avatars gaming with like-minded strangers. Only now are we realizing that this version of Web 3.0 being created has the potential to be as grim as the current moment in our physical world: For one, right-wing extremists recruiting and organizing in online quest games has very concrete ramifications in real life.
    In his nine-part Metaverse Primer, updated in June 2021 in response to the effects of the pandemic, venture capitalist and former head of strategy for Amazon Matthew Ball offers this definition: “The Metaverse is an expansive network of persistent, real-time rendered 3-D worlds and simulations that support continuity of identity, objects, history, payments, and entitlements, and can be experienced synchronously by an effectively unlimited number of users, each with an individual sense of presence.” Or, to put it in simpler terms, “No one really expected the next generation of the internet would come from mobile gaming, and yet here we are.” That some of the most in-depth writing about this new reality comes from a venture capitalist says it all.
    Nektarios Pappas performing The Last Judgement–Reloaded at the 7th Athens Biennale, “ECLIPSE.” Photo: Emilios Charalambous.
    “ECLIPSE,” the 7th Athens Biennale (AB7), cocurated by Ghanaian-American curator Larry Ossei-Mensah and Omsk Social Club—a Berlin-based group whose practice is anchored in speculative role-play gaming—under the artistic direction of Poka-Yio, homes in on questions surrounding the utopian promise of Web 3.0. It is up to us, this divergent curatorial team argues, to lay claim, create, meet, build, and thrive in those digital realms. It’s on us to queer the Metaverse.
    Fittingly, the list of participating artists includes many individuals and collectives working under pseudonyms and exploring the possibilities of digital practices. Afro-Hungarian artist Huntrezz Janos delivered a digital performance titled Eclipsatrix Exuvia during the biennial’s opening weekend, her bejeweled, chimeric avatar twerking and spinning on a screen inside one of the exhibition’s venues, a former department store. Nascent, a Berlin-based duo founded in 2018, is showing a multipart work titled Temporal Secessionism.  A series of digital clocks installed on all floors of the abandoned store, the work keeps track of three different time-measuring systems: one is based on real-time Bitcoin transactions; one shows the consensus of time that syncs all online servers; and another, dubbed “healing time,” moves according to the frequency of broken quartz, the crystal used in analog clockwork. On the 3rd floor, the pseudo-company Hypercomf (brainchild of the Greek artists Ioannis Koliopoulos and Paola Palavidi) has set up an office environment, replete with ergonomic chairs, branded mugs, and indoor plants, and desks made of pressed plastic waste. Some of these elements are coated with organic matter to enable mycelium growth, possibly inviting strands capable of decomposing plastics. Mycelium also happens to be the name of a popular Bitcoin wallet.
    Claude Eigan, Inner Saboteur II (2019), at the 7th Athens Biennale, “ECLIPSE.” Courtesy of the artist. Photo: Emilios Charalambous.
    Despite its digital-savvy focus, AB7 also raises issues concerning our fragile physical existence and the class and racial inequalities affecting it. The approach, however, is to address and activate viewers’ tacit and embodied knowledge, rather than beating them over the head with identity politics: the messages are communicated not discursively but instead appeal to viewers’ intuitions surrounding social hierarchies and racial divides. It’s portraiture in lieu of manifestos.
    In fact, there is a dazzling amount of photography on view by artists who consider, claim, and reimagine the ways in which to represent nonconforming, disobedient, or other-ed bodies. A series of portraits of members of South-Africa’s LGBTQ community by Zanele Muholi is stunningly straightforward; Kayode Ojo’s glossy portraits are jarring in their rejection of representational tropes, a rallying cry to turn our (luscious, warm) backs on excessive consumerism in favor of a celebration of the unbranded self. Awol Erizku’s still lifes, populated with signifiers of Black culture, are blown up to cover entire walls in what used to be the department store’s sports section.
    Andrew Roberts, RHYTHM RATTLESNAKE: The world ends with you, baby centipede (2020), at the 7th Athens Biennale, “ECLIPSE.” Photo: Nysos Vasilopoulos.
    There are numerous soundscapes and sound installations by artists, including Moor Mother, whose activist spoken-word and protest poetry, which deals with intersectional feminism, inherited trauma, and systemic racism, resonate through the main venue. An installation by the Belgian composer and artist Billy Bultheel, commissioned for AB7, fills the basement of the former Santaroza Courthouse in Dikaiosinis (or Justice) Square, which stood empty for 30 years. The biennial’s organizers initiated the building’s reopening to the public, as well as the cleanup of the small green lung—so scarce in Athens—that the square provides between two main thoroughfares.
    Labor and exhaustion was one of the curators’ considerations, too, often implied via its actual remedy—an invitation to take a seat. A series of upcycled chairs made at an Athens workshop, commissioned by London-based designer Yinka Ilori as part of his program for people in addiction recovery, greets viewers on the department store’s first floor. (Ilori was enlisted to design ONX Studio in Athens, the Onassis Foundation’s new extended-reality center, slated to open in 2022). On the upper level, fantastical animal-headed furniture by Nuri Koerfer invites viewers to pause and sit on the sculptural works.
    Ayesha Tan Jones performing The New Elementals at the 7th Athens Biennale, “ECLIPSE.” Photo: Nysos Vasilopoulos.
    In the biennial’s third venue, an abandoned office building, Miles Greenberg, who’s the youngest artist on view at 22, enthralls with the video work Late October (2021). A protégé of Marina Abramović, Greenberg edited footage from a seven-hour durational performance he staged Paris last year, in which seven Black performers (including himself), each representing a figure from Greek mythology, perch atop slowly revolving plinths. Treating the body as sculptural material, the 20-minute piece speaks of the erosion of both artifacts and empires.
    Cajsa von Zeipel, Formula X (2020), at the 7th Athens Biennale, “ECLIPSE.” Courtesy of the artist and Company Gallery. Photo: Nysos Vasilopoulos.
    But perhaps no other work captures the oscillation between the two realms we have come to create and exist in than Formula X (2021), a sculpture in silicone, rubber, and steel by Swedish artist Cajsa von Zeipel. Like a Mad Max: Fury Road amazon of the metaverse, a hyper-human pregnant figure is steering a three-wheel ATV into the unknown. Her bags are packed with diapers for her first baby and soon-to-be born second, and treats for her two dogs in tow, everything strapped onto her body or the vehicle with leather and rubber biker gear. The work’s dimensions are larger than life-size, just like the expectations and strain put on single mothers, not only during pandemic lockdowns. She is fierce and in control as she rides over sushi, which lodges between the tracks of the wheels. Or is this a projected avatar emerging from a deeply exhausted human existence?
    The seventh Athens Biennale, “ECLIPSE,” is on view at various venues throughout the city, September 24–November 28, 2021.
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    “Mou Mou” by Elian Chali in Rabat, Morocco

    Argentinian artist Elian Chali recently worked on a mural project entitled “Mou Mou” in Rabat, Morocco. The mural is made of acrylic paint that stretches over 50 x 8 meters of the building’s facade. The project was done in collaboration with Jidar Festival, curated by Salah Malouli.Elian creates vibrant murals that balance a simple aesthetic with carefully calculated designs. He often incorporates anamorphic shapes into his murals, placing squiggles and squares at the corners of buildings, creating the illusion of floating patterns. Clean lines and flat color fields almost seem to be rendered digitally rather than laboriously hand-painted across hundreds or even thousands of square feet.His aesthetics are inspired by the Pop-Art, minimalism, Russian constructivism, and neoplasticism. Through his work, the artist seeks to open a discussion that goes from the social problems to the poetry of the habitat in which he creates.Scroll down below for more photos of the mural and check back with us shortly for more updates from Elian Chali. More

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    Coverage: “Subliminal Matrix” Solo Exhibition by Zhang Ji at Volery Gallery, Dubai

    Last September 22nd, Volery Gallery opened Subliminal Matrix, a solo exhibition by Beijing-based Chinese painter Zhang Ji. This exhibition showcases a precisely calibrated selection of 12 paintings, created from 2018 – 2020, which demonstrates Zhang’s wholehearted engagement with the very structures and systems of painting. Subliminal Matrix is a collaboration of Volery Gallery with art collector and advisor Fabien Fryns who has been active in the contemporary art scene since 1986.The series, simply titled The Skin of Truth, features the artist’s minimalistic yet richly intricate detailed artworks which appear to radiant into immediate material presence whereupon he shapes the aesthetical effect. From earthy tones to magnetic blue and crimson red etc, Zhang used a variety of rich, bright hues as well as pure white, black and grey etc.His process calls attention to the paintings’ silken surfaces, loaded with oil paint; strengthened with the sheer physicality and expressive power of his medium. Gazing at these ethereal, atmospheric embossed-like paintings provide the viewers the sensation of a commanding optical quality, floating freely, bulged and ebbed, as if unanchored by gravity.In this exhibition, each composition is an independent work but also integral to the whole. Each work, elucidated the others, commenting on proportion, texture and the handling of the medium. The glossy was juxtaposed with the matte, the flat with the protruded, and the monochromatic and polychromatic panelling. Viewed together, these paintings convey a sense of symbolic matrix that can readily shift in relation to the painterly space and viewer’s angles of perception, yet captured visceral at its most subliminal.True to the paintings’ original premises, in this series, Zhang has painted with a restless, innovative and complete technical mastery. Each artwork is a fresh visual adventure with a strong sense of continuity not only as themselves, but also in relation to one another. The artist proves that you don’t have to go colossal to convey epic themes. But if one is to engage them on his/her own terms, they slowly reveal themselves as the artist’s response to his life observation and they allow the sense of things being painted and how we imagine the world through the imageries whereupon Zhang shapes a kind of expanded interrelation, articulated through correspondences of colour, shape and material inspiring trajectories of thought and narrative across the painterly properties.All in all, Zhang’s paintings evoke familiarity and memory in their vastness of collective illumination.Check out below for more photos of Subliminal Matrix and its opening night.The exhibition will run until 12th of October, 2021. 1:00 PM – 7:00 PM at Volery Gallery, Dubai International Financial Center, UAE. RSVP required. Book a visit here. More

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    “The Riders” by Fintan Magee in Sydney, Australia

    “The Riders” was painted on the Alexandria Hotel in the shadow of the Waterloo Public housing estate. In 2015, the LNP government in NSW marked the building for re-development, leaving many low-income families worried they will be pushed out of the area.  Painted in a bevelled glass technique, the riders appear broken up out of focus and distant. The work depicts the youth as transient, asking where displaced public housing residents will go as more public land is sold off within the city. The mural highlights the ongoing issue of gentrification in Sydney and how the cities working young are ignored by housing policy and pushed further into the suburbs, creating a disconnect between its most productive residents and economic opportunity. Fintan Magee is a Sydney based social realist painter, specializing in large-scale murals. His earlier large-scale paintings often inhabited the isolated, abandoned and broken corners of the city, and today are found all over the world including in London, Vienna, Los Angeles, Miami, Atlanta, Buenos Aires, Copenhagen, Moscow, Rome, Jordan, and Dublin among others.Magee’s practice is informed by a profound interest in political murals, inspired by exposure at a young age to those of his Father’s native Northern Ireland. This is reflected in the socialist nature of his public artworks, which combine journalistic elements with public art. Magee’s work is driven by his recognition of the power of murals to communicate political and social viewpoints and thus divide or unite communities.Take a look below to see more photos of Fintan Magee’s “The Riders” More

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    How the Fondation Louis Vuitton and an Army of Conservators Persuaded Russia to Green Light a Landmark Exhibition of Modern Art

    Russian brothers Mikhail and Ivan Morozov amassed one of the world’s strongest collections of Impressionist and Modern Art. But their world-leading collection was nationalized in 1918 after the Bolshevik revolution, and fell into obscurity for decades.
    Now, for its exhibition, “The Morozov Collection: Icons of Modern Art,” on view through February 22, the Fondation Louis Vuitton in Paris has reunited around 200 artworks from the collection, which is now mostly dispersed between the State Hermitage Museum in St. Petersburg, the Pushkin State Museum of Fine Arts in Moscow, and the State Tretyakov Gallery in Moscow. The works by Cézanne, Matisse, Picasso, Monet, Gauguin, Van Gogh, and Bonnard come from the first two museums, the works by Russian artists from the latter.
    “Reuniting all these pieces from major collections was very complicated and an enormous diplomatic undertaking,” Anne Baldassari, the exhibition’s curator, told Artnet News. The diplomatic significance was evident at the opening, which was attended by French President Emmanuel Macron and the Russian culture minister, Olga Lioubimova.
    Installation view of “La Collection Morozov. Icônes de l’art moderne,” at the Fondation Louis Vuitton, Paris. ©Fondation Louis Vuitton / Marc Domage.
    The feat of showing the Morozov collection outside Russia for the first time is a “landmark” event, said LVMH’s president, and art collector Bernard Arnault. It was achieved partly thanks to the Fondation Louis Vuitton helping the Russian museums restore works by some of the artists and being involved in organizing the Morozov exhibition at the Hermitage in 2019.
    This is the second exhibition at the Frank Gehry-designed Fondation Louis Vuitton that Baldassari has curated on major Moscow collectors—the first was devoted to Sergei Shchukin in 2016 and 2017. “[Had their collections not been seized during the Bolshevik revolution] Shchukin and Ivan Morozov had the idea of joining their collections to create a big museum, which would have constituted the most extraordinary museum on French art in the world,” Baldassari said.
    The history of the Morozov collection is a family saga. Mikhail and Ivan Morozov, born in 1870 and 1871 respectively, were the great-grandsons of a serf. With five rubles from his wife’s dowry, their ancestor set up a ribbon workshop, which developed into a factory, and bought his family’s freedom. In a few generations, the family—who were Old Believers (opposed to reforming the Russian Orthodox Church)–became wealthy, philanthropic industrialists. The first room in the exhibition features paintings of their circle by leading Russian artists of that era, such as Mikhail Vrubel and Valentin Serov.
    Auguste Renoir, Portrait of the Actress Jeanne Samary, Paris (1877).Coll. Ivan Morozov, 26 November 1904. Musée d’Etat des beaux-arts Pouchkine, Moscou / Pushkin State Museum of Fine Arts, Moscow.
    At the turn of the last century in Russia, the upper social echelon spoke French and the Morozov brothers formed their stupendous collection on the advice of Parisian dealers such as Paul Durand-Ruel and Ambroise Vollard. Mikhail, who died prematurely at the age of 33, discovered Bonnard’s work in Paris and acquired the first paintings by Gauguin to enter Russia. His brother later commissioned Bonnard to decorate the main staircase of his mansion. Ivan Morozov adored the work of Cézanne—indeed, having tried their hand at landscape painting in their youth, the brothers felt affinity for the landscape genre—and acquired 18 works by him.
    Black-and-white photographs displayed at Fondation Louis Vuitton give a sense of the splendor of Ivan Morozov’s mansion and its painting galleries. Some were taken by Maurice Denis, who was commissioned by Ivan Morozov to paint large panels on the story of Psyche for his music room, which has been restaged in the exhibition.
    After the Morozov collection was nationalized in 1918, Ivan Morozov fled to Finland and died in Karlsbad, Germany, at the age of 49. The collection would form part of the Museum on Modern Western Art, which Stalin ordered to be closed in 1948, dispersing its contents between the Pushkin and the Hermitage. The Soviet state sold several works for economic reasons, including Van Gogh’s Café de Nuit (now in the Yale University collection) and Cézanne’s portrait of Madame Cézanne (now in New York’s Metropolitan Museum). But things could have been worse. “Stalin hated [Western] art and could have asked for its destruction,” Baldassari said of the danger posed to the collection.
    The curator began researching the Morozovs by traveling to Russia and studying the archives in 2014. Several works, including a painting by Gauguin, that had “suffered in storage” were restored with support of French expertise and high-tech equipment. Others will require more elaborate restoration techniques in order not to risk damaging them. “Some of Van Gogh’s marvelous works couldn’t come—such as the only painting that Van Gogh sold in his life-time, Red vineyard in Arles,” Baldassari said. “Ivan Morozov purchased it from a young Belgian artist who had bought it from Van Gogh.”
    Vincent Van Gogh, The Prison Courtyard, Saint-Rémy (1890). Coll. Ivan Morozov, 23 October 1909. Musée d’Etat des beaux-arts Pouchkine, Moscou / Pushkin State Museum of Fine Arts, Moscow.
    However, Van Gogh’s The Prison Courtyard (1890), which he made while in the Saint-Rémy-de-Provence psychiatric hospital, has made it to Paris. The artist’s brother Theo had sent him a photograph of Gustave Doré’s drawing of a London prison’s courtyard which Van Gogh reinterpreted into a primarily greenish blue-hued painting, the conditions of the prisoners echoing his own confinement.
    Further highlights include Matisse’s Moroccan Triptych (1912-1913) in rich blues, comprising a view from a window, a portrait of a young girl and an entrance to the Kasbah; Gauguin’s lush paintings of Tahiti; Picasso’s Cubist portrait of Vollard, the face dissolving into geometric shapes; Monet’s misty depiction of Waterloo Bridge, and Serov’s striking portraits of the Morozov brothers. What’s also fascinating is how a group of Russian avant-garde artists, the Cézannistes, were ardent followers of Cézanne.
    Lifting the veil on this chapter of Russian history “is only at the beginning,” Baldassari says. “Now we need to go back to the [Russian] avant-gardes; there are a lot of points that remain obscure and more research needs to be carried out in Russian museums. What we’ve done on the Shchukin and Morozov collections is like lifting an enormous block; perhaps now more things will be able to come out.”
    “The Morozov Collection: Icons of Modern Art” is on view at Fondation Louis Vuitton, Paris, through February 22, 2022.
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