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    in Exhibitions

    See Inside Meow Wolf’s Fourth Psychedelic Exhibition, Opening in the Dallas Suburbs This Summer

    Arts and entertainment juggernaut Meow Wolf has announced the name of its eagerly awaited fourth location, opening in the Grapevine Mills mall near Dallas on July 14. Titled the Real Unreal, the 29,000-square-foot, immersive, interactive exhibition will feature more than 70 installations with work by more than 60 artists, all building on the existing Meow Wolf mythology.
    Conceived by Wisconsin sci-fi and fantasy author LaShawn Wanak, the story for the Real Unreal is about a missing boy, a chosen family, and something called the “Hapulusgarrulus Lophoaquaflori.”
    To forge relationships with the local artist community, Meow Wolf hired Dallas muralist Will Heron as the artist liaison for Grapevine. The exhibition features 38 participating Texas artists, including Mariell Guzman, Riley Holloway, and video game designer XaLaVier Nelson Jr. Also included are a few Meow Wolf vets, like Emmanuelle John, Lance McGoldrick, and Nico Salazar (Future Fantasy Delight), who have now created artwork for all four locations.
    One expected highlight is work by Dan Lam, who was born in Manila and grew up in the Dallas-Fort Worth area. Her neon dripping tentacles have won her close to a half-million followers on Instagram, and she’s building her largest-ever piece for Meow Wolf, a 16-by-16-foot installation in her signature rainbow hues.
    Meow Wolf collaborative artist Dan Lam in the studio. Photo by Jordan Mathis, courtesy of Meow Wolf.
    All the participants faced the challenge not only of incorporating their own work into Meow Wolf’s maximalist, kaleidoscopic display, but tapping into the narrative for the space.
    “It’s about finding the right artists who want to tell the stories we’re telling. We give the artists the theme, and let them interpret it their own way,” Kati Murphy, the company’s vice president of communications, told Artnet News. “It’s kind of an exquisite corpse. The stories are threaded through the art.”
    Originally founded as an art collective in 2008, Meow Wolf exploded onto the scene with the 2016 opening of the House of Eternal Return in Santa Fe, its first permanent exhibition. Funded in part by Game of Thrones author George R.R. Martin, the house wasn’t just a maximalist art environment brimming with Instagram-friendly photo ops—the abandoned family home concealing mysterious portals to other dimensions was the first chapter in a complex sci-fi-infused universe.
    Meow Wolf collaborative artist Ricardo Paniagua in the studio. Photo by Jordan Mathis, courtesy of Meow Wolf.
    Then came the Las Vegas Omega Mart that opened in February 2021, a grocery store fueled by nefarious technology. That fall, the Denver Convergence Station, a gateway to a parallel universe where four dramatically different worlds converge, followed.
    These ambitious expansions were fueled by a massive round of fundraising—$158 million, to be exact—but were not without their growing pains.
    The original Santa Fe location unionized, reaching a contract agreement last spring after filing an unfair labor practice suit with the National Labor Relations Board. (The Denver location hopes it is close to finalizing its union contract, according to Murphy.) Plans for additional locations in Phoenix and Washington, D.C., fell victim to the pandemic, which also sparked a massive round of layoffs.
    There was also personal tragedy, with the death of Meow Wolf cofounder Matt King in 2022. A posthumous solo show of his paintings, “Matt King: Becoming Light” is set to open at Turner Carroll Santa Fe’s Container in September, and King’s legacy still looms large as Meow Wolf prepares to open its first location without him.
    But the company now appears to be on a strong growth trajectory. Ahead of the Grapevine opening, Meow Wolf will break ground on its forthcoming Houston outpost, set to open come 2024 in the Fifth Ward.
    Promotional imagery for Meow Wolf the Real Unreal in Grapevine, Texas. Courtesy of Meow Wolf.
    And, with each new location, the Meow Wolf mythos deepens. There are already little Easter eggs sprinkled throughout the existing locations that hint at ties between the three.
    “That’s something that’s going to continue to build and grow with each exhibition we open, connecting these spaces to each other,” Murphy said.
    Although guests are welcome to enjoy the art on a purely visual level, the mystery of Meow Wolf has been key to its success, inspiring diehard fans to closely examine even the tiniest details for clues.
    “Our Reddit is insane. They’re like investigative reporters who are dedicated to everything that we do, to the point that they look up our trademark and permit applications,” Murphy said. “It’s really wild how dedicated our fan base is, considering that we just have our physical locations without any preexisting properties or storylines.”
    The longterm plan will be to bring the Meow Wolf universe into other mediums that can be experienced without making a pilgrimage to one of the locations. The first step in that journey was announced in March, with the addition of a Meow Wolf-themed golf course in the popular virtual reality game Walkabout Mini Golf.
    Tickets to the Real Unreal are now on sale for $50 for general admission.
    See more photos from the forthcoming exhibition below.
    Detail of Dan Lam’s installation at Meow Wolf the Real Unreal in Grapevine, Texas. Photo by Shayla Blatchford, courtesy of Meow Wolf.
    Detail of Tsz Kam’s installation at Meow Wolf’s the Real Unreal in Grapevine, Texas. Photo by Will Heron, courtesy of Meow Wolf.
    Detail of Morgan Grasham’s installation at Meow Wolf’s the Real Unreal in Grapevine, Texas. Photo by Will Heron, courtesy of Meow Wolf.
    Detail of Meow Wolf’s the Real Unreal in Grapevine, Texas. Photo by Shayla Blatchford, courtesy of Meow Wolf.
    Detail of Meow Wolf’s the Real Unreal in Grapevine, Texas. Photo by Shayla Blatchford, courtesy of Meow Wolf.
    Detail of Meow Wolf’s the Real Unreal in Grapevine, Texas. Photo by Shayla Blatchford, courtesy of Meow Wolf.
    Detail of Meow Wolf’s the Real Unreal in Grapevine, Texas. Photo by Shayla Blatchford, courtesy of Meow Wolf.
    Detail of Meow Wolf’s the Real Unreal in Grapevine, Texas. Photo by Shayla Blatchford, courtesy of Meow Wolf.
    Detail of Meow Wolf’s the Real Unreal in Grapevine, Texas. Photo by Shayla Blatchford, courtesy of Meow Wolf.
    Detail of Meow Wolf’s the Real Unreal in Grapevine, Texas. Photo by Shayla Blatchford, courtesy of Meow Wolf.
    Detail of Meow Wolf’s the Real Unreal in Grapevine, Texas. Photo by Shayla Blatchford, courtesy of Meow Wolf.
    Meow Wolf the Real Unreal will open at 3000 Grapevine Mills Pkwy Suite 253, Grapevine, Texas, July 14, 2023. 
    “Matt King: Becoming Light” will be on view at Turner Carroll Santa Fe’s Container, 1226 Flagman Way, Santa Fe, New Mexico, September 8–November 5, 2023. 
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    in Exhibitions

    Why Robert Pattinson Became the ‘Mascot’ for a Mysterious New Group Show at Chicago’s Renaissance Society

    A true head scratcher of an exhibition has touched down at Chicago’s Renaissance Society. Curated by artist Shahryar Nashat and critic Bruce Hainley, the show has no title and no press release—just a photo of actor Robert Pattinson in sunglasses and a cap, dining at a restaurant, accompanied by a cryptic explanation.
    “We met for lunch to continue our conversation, soon noticing the celebrity, incognito, taking a meeting nearby, and such serendipity prompted a reaction: Use this strange presence as a device to work through the current moment in relation to how bodies, whether living currency or undead, circulate, distort, unalive, and, yet, love,” Hainley wrote on the show’s website.
    That lunch was about a year ago, in a restaurant parking lot in Los Angeles, and Hainley and Nashat had met to discuss the possibility of curating an exhibition to coincide with the latter’s upcoming solo show at the Art Institute of Chicago. It’s become something of a tradition for contemporary artists to have simultaneous outings at both museums, but instead of a second solo show, Nashat was interested in collaborating with Hainley.
    “We started talking about the idea of a muse or a mascot, and we were like, ‘Maybe we should find this entity or person and see how things come together under that.’ By total coincidence, Robert Pattinson was having lunch at the same restaurant,” Nashat told Cultured. “I took a snapshot of him. Bruce and I looked at each other and were like, ‘There you go. He’s here. There has to be a reason.’”

    The British actor, who has been both a matinee idol—attracting legions of fans for his roles in the Twilight and Harry Potter film series—and an indie sensation, seemed to have the right kind of energy to build a show around. “Robert Pattinson is really a star rather than a celebrity,” Hainley said.
    The exhibition features work by contemporary artists Puppies Puppies (Jade Guanaro Kuriki-Olivo), Karen Kilimnik, and Larry Johnson. The curators have also secured a loan from the Art Institute of an oil painting by the French painter Marie Laurencin, who lived from 1883 to 1956. It’s been in the museum’s collection since 1986, but this is the first time it’s ever been displayed.
    Marie Laurencin, Head of a Young Woman (1926). Collection of the Art Institute of Chicago, bequest of Maribel G. Blum.
    None of the artwork features Pattinson—but the Renaissance Society has exclusively promoted the show with photos of the actor (plus one of fans running their hands through the hair of his wax double at a Madame Tussauds).
    That idea of fan consumption of celebrity, even their physical body somehow beyond their control, is something that ties the works in the show together.
    But if you want to understand what’s going on in the exhibition, you had best get yourself to Chicago to see it in person.
    Installation view of the Robert Pattinson-inspired exhibition at the the Renaissance Society, Chicago, curated by Shahryar Nashat and Bruce Hainley. Photo by Robert Chase Heishman, courtesy of Shahryar Nashat, Bruce Hainley, and the Renaissance Society, Chicago.
    “People are so used to getting a show title, a press release, a list of names, or a description that they probably don’t ever read,” Nashat said. “As soon as you don’t conform to the ways information is usually circulated for reasons that just feel natural, you create mystery, but our intention is not to be mysterious. We want to let the things that matter come first—that’s what’s in the show. You have to be in the space, and then the thinking arranges around it.”
    The exhibition is on view at the Renaissance Society at the University of Chicago, 5811 South Ellis Avenue, Cobb Hall, 4th Floor, Chicago, Illinois, May 13–July 2, 2023.
    “Shahryar Nashat: Raw Is the Red” is on view at the Art Institute of Chicago, 159 East Monroe Street, Chicago, Illinois, October 6, 2022–September 11, 2023.
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    in Street Art

    “Fire And Ice” by Pener in Vienna, Austria

    Street artist Pener just finished his latest mural entitled “Fire And Ice”  in Vienna, Austria. Pener has been one of Poland’s talented emerging artists working in abstract and deconstructive style.Great detail and color transitions create a fluid composition with layers and layers of deconstructed form. The linear details are impressive holding together the constant movement and transparent shapes. An impressive mural from Pener.Scroll down and take a look at more photos of “Fire And Ice”. More

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    in Exhibitions

    In Pictures: Josh Kline’s First U.S. Museum Survey Looks to the Future to Frame Present-Day Anxieties 

    “Prescient” is a word often overused in art speak, but when it comes to the work of Josh Kline, the adjective is actually accurate.
    Time and again over the last decade or so, the now 43-year-old artist has portended the ways in which nascent technologies and growing corporations would come to oppress the people whose lives they purported to improve. He’s turned Teletubbies into symbols of state surveillance; wrapped white-collar workers in plastic trash bags; and employed early deepfake techniques to make George W. Bush cop to war crimes, effectively using the former president’s penchant for historical revisionism against him. 
    These pieces and many others make up “Project for a New American Century,” the first U.S. museum survey of Kline’s work, on view now at the Whitney Museum of American Art. It’s a virtuosic presentation from one of the world’s most timely artists—one that captures the anxieties of our current moment even when it looks ahead.  
    Josh Kline, In Stock (Walmart Worker’s Arms) (2018), detail. Courtesy of the Whitney.
    Included, for instance, is Kline’s film Adaptation (2019–22), which envisions, in a not-so-distant future, a group of essential workers commuting to their jobs by boat in a flooded Manhattan. There’s also his 2014 sculptures No Sick Days and Packing for Peanuts, in which 3D-printed limbs scanned from FedEx employees are imprinted with the company’s logo—an almost comical literalization of corporate exploitation.   
    Indeed, subtlety is not a quality for which Kline is known. Viewers won’t walk out of the Whitney show wondering what he “meant.” But this legibility is a feature, not a bug; the urgency of the artist’s themes calls for action, not equivocation. And it’s intentional: “You shouldn’t need four years of study of Lacan and Deleuze and Adorno and whoever to understand art,” Kline told the New York Times earlier this year. “I want to create an art that’s accessible to the FedEx delivery worker or a doctor who doesn’t have that specific education but is interested in the society they live in.” 
    See more images from Kline’s survey below: 
    Still from Josh Kline’s Adaptation (2019–22). Courtesy of the Whitney.
    Josh Kline, Make-Believe (2017).
    Josh Kline, Desperation Dilation (2016). Courtesy of the Whitney
    Installation View of “Josh Kline: Project for a New American Century” at the Whitney Museum of American Art, 2023. Courtesy of the Whitney.
    Josh Kline, Energy Drip (2013). Courtesy of the Whitney.
    Installation View of “Josh Kline: Project for a New American Century” at the Whitney Museum of American Art, 2023. Courtesy of the Whitney.
    Josh Kline, Creative Hands (2011). Courtesy of the Whitney.
    “Josh Kline: Project for a New American Century” is on view now through August 13 at the Whitney Museum of American Art in New York. 
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    in Exhibitions

    A Dutch Museum Has Organized a Rare Family Reunion for the Brueghel Art Dynasty—And the Female Brueghels Are Invited to the Party

    Connoisseurs have learnt to differentiate “the Elder” Brueghel painters from “the Younger” generation and many have their preferences for the work of family scion Pieter Breugel the Elder. But this fall, art lovers are invited to enjoy all the members of this Old Masters dynasty as they are reunited for a new survey spanning an incredible five generations at the Het Noordbrabants Museum in the Netherlands.
    Roughly spanning the years 1550-1700, some 80 paintings will chart how one family of outsize artistic talent managed to keep innovating throughout the Dutch Golden Age. The exhibition will explore intergenerational familial connections and influences while also elaborating on the wider network of cultural activity, from significant artists like David Teniers the Younger who married into the family to the wider historical context of colonialism and global trade.
    Jan Brueghel the Elder, Vase of Flowers with Jewel, Coins, and Shells (1606). Photo courtesy of Pinacoteca Ambrosiana, Milan.
    Standout masterpieces by Pieter Bruegel the Elder include The Magpie on the Gallows (1568), his The Beggars of the same year which is travelling from the Louvre in Paris and a rare public glimpse of The Drunkard Pushed into the Pigsty (1557) from a private collection in New York.
    In other cases, close study of detailed miniatures on an intimate scale will introduce visitors to the tiny worlds built up by Jan Brueghel the Elder and his grandson Jan van Kessel the Elder, who he greatly inspired.
    Audiences can also expect to be introduced to some less famous names, including women members of the family like the artist Mayken Verhulst. Mother-in-law to Pieter Brueghel the Elder, she played an active role in the education of her grandsons Pieter Brueghel the Younger and Jan Brueghel the Elder.
    Her own practice, too ofter overshadowed by their achievements, included miniature illustrations and watercolours. She was named one of the four most important female artists of the region in Lodovico Guicciardini’s book Description of the Low Countries (1567).
    “Brueghel: The Family Reunion” opens at Het Noordbrabants Museum on September 30 until January 7, 2024.
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    in Exhibitions

    See Inside Rising Star Richard Kennedy’s Dance-Inflected, Electrifying Institutional Debut In Asia

    South Korea’s burgeoning art scene is known for bravely embracing international art stars; as such, the Ohio-born, Berlin-based interdisciplinary artist Richard Kennedy, a rising dynamo in the art world, has found the right audience for their Asian institutional debut.
    Known for their dance-inflected celebration and reflection of the queer Black experience, Kennedy has presented a new body of work that includes their signature, vibrantly-colored woven paintings and a new video installation at the Jeonnam Museum of Art. The two-year-old public museum is located in Gwangyang, a four-hour train journey away from the capital city Seoul.
    In the show, called “Acey-Deucy,” the artist continues their exploration of relationships and sexuality at the intersection of class, race, and gender. The solo show, which is spread across three distinct rooms, breaks down boundaries between binaries such as black and white or male and female. While the exhibition’s narrative may be part of an ongoing discussion topic in the west, situating this in culturally conservative Korean society feels particularly urgent.
    Installation view of Richard Kennedy’s solo exhibition ‘Acey-Deucey.’ Photo by Seungwook Yang. Image courtesy of Jeonnam Museum of Art, Korea and PeresProjects.
    Kennedy’s new film, titled Miracle W.I.P., features performances by the artist and collaborators Kyle Kidd and Tahir Francis—the mystical, multi-screen video installation is arranged to form the letters “o” and “h,” referring to the artist’s home state Ohio; the biographical work is testament to their own self-searching journey.
    Kennedy, who has had solo shows at MoMA and MoMA PS1, was included in the group show “Ubuntu, A Lucid Dream” at Palais de Tokyo in 2021, where they transformed the Paris museum into a dance floor for a participatory performance. Audiences in Korea were able to experience the artist’s live performance as well, a medium central to their practice, during the exhibition’s opening. Works created during the performance Milk & Cookies are on view in on gallery room, which was transformed into an imaginary classroom during the performance as Kennedy revisited the trauma of humiliation and power dynamics in a school setting.
    Since its inauguration in March 2021, the Jeonnam Museum of Art has been showcasing Korean and international art, including a solo presentation of Russian art collective AES+F and a major retrospective of Georges Rouault in dialogue with Korean artists. Kennedy’s show is the museum’s third solo presentation of an international name since its inception. Given their gallery Peres Projects recently opened a second space in Seoul’s Songhyeon-dong area, adjacent to other major galleries and museums, it is likely that South Korean audiences will be seeing more of Kennedy’s electrifying work.
    Richard Kennedy’s “Acey-Deucey” is on view until June 4. See highlights of the exhibition and opening performance below.
    Richard Kennedy, milk & cookies, performance view on March 16, 2023, Jeonnam Museum of Art, Gwangyang, South Korea. Photo by Seungwook Yang. Courtesy of Jeonnam Museum of Art, Korea and Peres Projects.
    Richard Kennedy, milk & cookies, performance view on March 16, 2023, Jeonnam Museum of Art, Gwangyang, South Korea. Photo by Seungwook Yang. Courtesy of Jeonnam Museum of Art, Korea and Peres Projects.
    Richard Kennedy, milk & cookies, performance view on March 16, 2023, Jeonnam Museum of Art, Gwangyang, South Korea. Photo by Seungwook Yang. Courtesy of Jeonnam Museum of Art, Korea and Peres Projects.
    Richard Kennedy, milk & cookies, performance view on March 16, 2023, Jeonnam Museum of Art, Gwangyang, South Korea. Photo by Seungwook Yang. Courtesy of Jeonnam Museum of Art, Korea and Peres Projects.
    Installation view of Richard Kennedy’s solo exhibition ‘Acey-Deucey.’ Photo by Seungwook Yang. Image courtesy of Jeonnam Museum of Art, Korea and Peres Projects.
    Installation view of Richard Kennedy’s solo exhibition ‘Acey-Deucey.’ Photo by Seungwook Yang. Image courtesy of Jeonnam Museum of Art, Korea and Peres Projects.
    Installation view of Richard Kennedy’s solo exhibition ‘Acey-Deucey.’ Photo by Seungwook Yang. Image courtesy of Jeonnam Museum of Art, Korea and Peres Projects.
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    in Exhibitions

    Did Claude Monet Learn His Extraordinary Use of Color From His Brother, a Pigment Chemist? A New Show Looks at the Influence of Léon Monet

    Léon Monet was born in 1836, four years before his younger, more famous brother Claude, and he took a very different path in life. After studying to become a chemist, he moved to Rouen where he specialized in the production of synthetic pigments to be used as dyes, eventually becoming a founding member of the Rouen Industrial Society.
    Luckily for Claude, this growing industry was well paid and Léon was able to offer his brother some financial support long before he gained widespread recognition, even introducing him to a few of his rich friends. Taking his interest in Claude’s work a step further, Léon began attending exhibitions in Paris and Rouen and collected paintings by other Impressionists including Renoir, Sisley and Pissarro.
    Etienne-Carjat & Cie, Portrait of Léon Monet. Photo courtesy of Musée du Luxembourg.
    The exhibition, “Léon Monet, artist’s brother and collector”, which runs until July 16 at the Musée du Luxembourg in Paris, sheds new light on Léon’s little known role as a supporter of the Impressionist movement as well as his relationship with his brother, which may have been more creative than most would assume.
    “Léon was a chemist of synthetic colors, and these became increasingly common in painting at the end of the 19th century,” the show’s curator Géraldine Lefebvre told Artnet News. “I think he played a key role in this new way of painting and pushed his brother to use new colors.”
    Though the pair were close for many decades, they had sadly fell out by the time of Léon’s death in 1917. Check out a tour of some of the artworks and objects that he collected over his lifetime below.
    First notebook of drawings by Monet from 1856, acquired by Léon in 1893. Photo: © François Doury.
    Never before seen by the public, one of the most exciting works included in the show is one of Claude’s earliest sketch books, which he started in 1856 at the young age of 15. Léon acquired the book at auction many years later in 1893 and one page bears a personal inscription by Claude written in 1895.
    Around this time, Claude also produced caricatures to sell for pocket money. One image of a bourgeois figure with an exaggerated moustache and bowtie and fancy striped pants was originally bought by Léon’s close friend Ernest Billecocq.
    Claude Monet, Anglais à moustache (c.1857). Photo courtesy of Musée du Luxembourg.
    An 1864 view of the seaside in Le Havre, Normandy, where the two brothers grew up, is one of the most important early masterpieces by Claude from Léon’s collection.
    Claude Monet, La plage à Sainte Adresse (1864). Photo: © Tochigi Prefectural Museum of Fine Arts.
    Léon also bought this sensitive portrayal of Claude’s first wife, Camille Doncieux, in a state of meditative rest. A reference to the considerable influence of Japonisme on the artist’s works can be found in the fan resting on the mantlepiece, showing a floral design that carries on to the other fabrics in the room. “I think Léon was interested in this painting because of that pattern,” speculated Lefebvre.
    Léon presented the work at a local exhibition in Rouen in 1872, proudly putting his name in the catalogue to introduce himself as a collector.
    Claude Monet, Méditation, Madame Monet au canapé (vers 1871). Photo: © Rmn – Grand Palais / Gérard Blot.
    A year later, in 1875, Léon attended an auction of Impressionist works where he bought the first lot, his brother’s painting of the river Seine. He also encountered some of Claude’s peers, including Sisley and Renoir, whose painting of Paris below he also acquired at the sale.
    Pierre-Auguste Renoir,Paris, l’Institut au Quai Malaquais (1872). Photo: © Courtesy of the painting’s owner.
    Léon also bought a wintry snowscape by Sisley according to old photographs of his collections. Though the specific work is in a private collection, it would have looked similar to the painting below, which is included in the exhibition.
    Alfred Sisley, Route de Louveciennes, effet de neige (1874). Photo: © Hasso Plattner Collection.
    When Pissarro visited Rouen for the first time in 1883, he stopped by Léon’s house for dinner. The men had been friends since 1872 thank to the connection made by Claude, and Léon became an early collector of Pissarro’s. “It was important for an artist to go to places where they know they can find a collector who will buy their paintings,” explained Lefebvre.
    During the visit, Pissarro became inspired by his new surroundings and dashed of the below sketch of the town and its surrounding hills. Léon immediately snapped up both this and another depiction of Rouen the very same day they were painted.
    Camille Pissarro, Environs de Rouen (1883). Photo: © Courtesy of Sotheby’s, Inc.
    Léon also bought a work of the beach at Les Petits-Dalles in Normany by Claude’s step-daughter Blanche Hoschedé Monet, the daughter of his second wife Alice who followed in his footsteps to become an Impressionist painter.
    Blanche Hoschedé Monet, Les Petites-Dalles (1885-1890). Photo courtesy of Musée du Luxembourg.
    Finally, Léon was also interested in works by the lesser-known painter Charles Frechon, a native of Rouen who also notably worked as a draughtsman for the dye industry. “To earn a living these artists made patterns for fabric manufacturers,” explained Lefebvre.
    The painting below is not the same autumnal sketch that the collector is known to have acquired, but it spotlights the unique style of the artist.
    Charles Frechon, Fenaison, Rouen depuis la rive gauche (1891-1895).
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    in Street Art

    “SOIN – Struttura G076” by Giulio Vesprini in Roune, France

    “S O I N – Struttura G076” is Giulio Vesprini’s first anamorphic work made in Rouen at the Santé Rouen Normandie Health Campus curated by Olivier Landes of Art en Ville and curated produced by Métropole Rouen Normandie. A very complex work that develops on two sides, generating two distinct points of view. Side A and Side B.The mural is part of the many initiatives for the candidacy of Rouen capital of culture 2028. A beautiful experiment of art and architecture in a difficult space like this underpass. SOIN means care, the care of a space thanks to urban art that makes an important district of the city. You can see the complete wall only if you stop at a precise point.Check out below for more photos of Giulio Vesprini’s latest project.
    Curated by: Olivier Landes / Art en villeCommisionned by: Metropole Rouen Normandie / Rouen 2028Team: Hobz + Sa.va.ti + SerenaPhotos: Jean-Pierre Sageot More