Mat Dryhurst makes software the way others make manifestos. Curated alongside Holly Herndon, Hans Ulrich Obrist, and Adriana Rispoli, his Attention Guild installation at Palazzo Diedo is the clearest version yet of what he calls protocol art: a parliament of humans and agents, and a gift economy that runs.

What remains after provocation? Reading SEAWORLD VENICE by Florentina Holzinger.

Cao Fei turns a rice field into a philosophical question. Drones replace gods. Algorithms rewrite ancient rituals. Milan, April–September 2026. Fondazione Prada.

Gottfried Helnwein makes you look at what most people prefer to ignore. His first major retrospective in Spain opens now at SOLO Independencia, Madrid.

Alessandro Aprile’s first solo show exhibition at MATTA in Milan unfolds as a suspended field: bodies surface and dissolve, thresholds flicker, and painting becomes a slow emergence of unstable, shared states of being.

Freedom, femininity, and a refusal to be polished. Ottolinger FW26 gave women permission to take up space, make questionable choices, and look extraordinary doing it.

Yoniro returns with a new and ambitious project, a concept album that explores and fuses the tradition of the Taranta with electronic sound research.

ILL-STUDIO is a research driven practice shaped by impulse, not instruction. In this interview, Thomas Subreville traces how ideas circulate, resist coherence, and settle only when meaning outweighs form. Finality becomes irrelevant once logic replaces structure.

Motorized wheelbarrows. Bumper cars with horsepower. Forty years of obsession, 4,500 shows, one garage in Stuttgart. FEUERSTÜHLE brings the machines inside and turns the volume up. 

The Shaft Boot. A vertical declaration. Structure pulled apart and rebuilt by hand. Shayne Oliver rewrites Paris from the sole up.

PLATTE Berlin becomes a platform where Sven Marquardt’s jury perspective values material truth, photographic thinking, and designers who speak both to the street and to the gallery.