Preeminent sculptor Richard Serra was renowned for monumental site-specific artworks that alter viewers’ perceptions of space and proportion. In addition to the feats of engineering, Serra also created fierce black-and-white abstract drawings with oil stick on paper.
And nowadays, he continues to produce rigorous and intense engravings. His new compositions, entitled Backstop, combine etchings and the use of paintsticks on a double panel exploring mass and equilibrium, as is often the case in his sculpture.

Laure Prouvost's signature visual language resonates throughout, exploring themes of language, motherhood and ecological consciousness with her characteristic blend of intimacy and humour. Prouvost’s practice is one of continuous translation and fluid evolution. Central to her work are the themes of shifting meanings, mistranslations across languages, definitions, and the seamless fusion of creatures into a unified whole, where utopia meets surrealism.
Besides the dreamlike nature of the work, her work is also sharply activist: emancipation, globalisation, climate change and global warming are major themes in her oeuvre, and namely reflected in the artwork tapestry We Will Keep Cool, from the series that depicts diverse landscapes and familiar motifs in Prouvost's oeuvre.

Incorporating concepts drawn from philosophy, mathematics, and science, Alicja Kwade’s work is known for creating lyrical arrangements of familiar objects and natural materials to elicit similarly intangible phenomena and transitory atmospheres.
Heavy Skies is a series of mobiles that feature hanging rocks suspended by gold-plated structures and wires that float within and above the exhibition space, bringing acute attention to the operations of gravity and the precarity of its states of equilibrium. Each piece of the kinetic sculpture is dependent on another, connected through a grid of horizontal and vertical lines, creating the impression of things falling, from above to the ground below, and again relying on the stone as a structural fundament.
The gravity that is affecting the objects suspended is momentarily halted, frozen in an impossible state whose very suspension depends on gravity in order to function. The rocks appear to be falling on viewers' heads, a fitting metaphor for human attempts to take hold of the world and make sense of it, and resonating with the topic of time, that appears often in the artworks of Kwade, before she employed rock, clock, chains to embody the idea.

Ugo Rondinone’s artworks are meditations on the world and everyday life, that reflect particularly on the theme of time and, blur boundaries between what is real and artificial. He works in mixed-media installations that include sculpture, painting, video, sound, and photography. His wide-ranging practice utilises metaphoric and iconographic images such as clouds, animals, and figures, as well as powerful declarative sayings. By co-opting the language of psychedelia and advertising, Rondinone conveys his profound interest in the contemplation of everyday life and activities.
“I see art-making as a ritual, a meditation for myself,” the artist explains. “It’s to exclude myself from society and to create my own rites…The energy of art is that you can spend time with yourself.” Through his “date” paintings, where he employs the date written in German as a name for the work, the artist composes profound meditations on nature and the human condition.

Julian Charrière in his artworks explores ideas of nature and its transformation over deep geological as well as human historical time. Through the series of artworks Buried Sunshine, Charrière shows Los Angeles before capitalism and hedonism built the second-largest city in the United States, and the discovery of petroleum there in the 19th century, that industrialized the region. The artist knows that LA isn’t just the “City of Angels.”
It has a rich history, but unlike many other cities, it has a complex storyline. Before the Sunset Strip and the glamour of Hollywood was a barren, petroleum-rich wasteland, presenting settlers with the opportunity of a lifetime. In Buried Sunshine, Charrière was interested in the cross-section between humans and their environment, especially how it can lead to unfortunate scenarios. Our actions are destroying the planet, leaving it unable to keep up with our consumption habits.

Bharti Kher’s art gives form to quotidian life and its daily rituals in a way that reassesses and transforms their meaning to yield an air of magical realism. She allows both abstraction and figuration to weave through her practice and exploits the drama inherent in objects, tapping into mythologies and the numerous diverse associations a thing or place can carry.
Likening herself to the well-intentioned ethnographer investigating her culture, Kher delivers a forceful reinterpretation of India's present and its history. Her “Matter” series focuses on the artist's exploration of identity, aiming to bring together works that speak especially to the perceptions and realities of being female today.

Mathilde Denize confronts and complicates traditional ideals about femininity, female bodies, and sexuality in sensorial figurative paintings, installations, performances, and films. She has been reconciled with painting, which she no longer does 'with the tip of her brush.'
She has turned it into the theatre of her own concord: tender swirls of paint from discarded paint cans found on film sets, whose colours she doesn't choose, small pots of iridescent paint from an Istanbul market, and a certain taste for mise-en-scène, but also for the mystical, DIY cinema of director Paradjanov or the deceptively naive floral paintings of American painter O'Keeffe. 'I never ask myself what the subject is,' says Mathilde Denize, 'I create contrasts vertically, waiting for the surprise.'

Niki de Saint Phalle’s exuberant practice emphasized femininity, performance, and collaboration as it rejected notions of the lone male genius. A writer and filmmaker, she had given many clues to her traumatic childhood in her creative practices.
Her Petit Témoin, or Little Witness, leads to a peculiar interpretation of the meanings: Stoic and earless is this enormous head a silent observer? Does it stare? Does it judge? Or is it engaged in the process of voyeurism? Observing some crime and staying silent?
Self-taught artist, Niki de Saint Phalle first began making art as a form of therapy. She later became a part of the Nouveau Réalisme movement that included Christo, Yves Klein, and Jean Tinguely. Early in her career, de Saint Phalle became inspired by the architecture of Antoni Gaudí while on vacation in Spain, and planned to make a piece on par with his famed public park design, Parc Güell, leading to the creation of The Tarot Garden two decades later.

Catherine Goodman’s characteristically animated surfaces and energetic brushstrokes have long been signatures of her expressionistic landscape paintings, portraits and sketches. Now, as she moves into abstraction, the distinctive vitality of her art takes on a new, immersive power.
Goodman’s artistic process is the act of drawing directly from life, a practice she has maintained for decades, as well as her intimate knowledge of the old master painters and drawing from film, where she immerses in the legends of the modern cinema age. This commitment to drawing underpins a deeply intuitive mode of artmaking that combines her outward physical observations with sensations pulled from her inner imagination and memories of specific places or experiences.