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As Night Follows Day, a solo exhibition by @bethletain , consisting of paintings made over the last decade, placed across two floors at @proyecto_reme in Mallorca. Thank you Beth for your trust and painted poetry. Thanks to the gallery for your generous hospitality and support. “In a post-truth world, there is a refuge of truth that can be found in painting.”

☯️💘 FOR MULTITUDES I STOOD, LEST HUMANKIND BE LOST, AND WITH YOUR HOLY BLOOD THE WORLD BE WON AGAIN.

We recently launched the content arm of Dreaming in Public @dreaming_in_public , Notes from a Waking Dream, beginning with a special collaboration between @bekforum , via the generous referral of @rusha_co , on Tan Mu’s @tan.mu__ current exhibition and ongoing Signal series. With thanks to BEK Forum Founder @li_yi_zhuo . Tan Mu’s Signal and the accompanying performance Everything on the Line at BEK Forum, curated by Nick Koenigsknecht @bignickberlin , unfold through what I call ‘arbitration’, a term from my Master of Architecture thesis Architectonic Silence: Arbitrating Noise. In electro-acoustic systems, an input passes through internal processes before becoming an output, often notated through visual cues that seem arbitrary yet become essential to meaning. To read a line as rising or falling volume is an arbitrary decision, yet once made, a system takes shape. Like Xenakis’ stochastic scores or Cage’s chance operations, Tan Mu’s paintings turn data cables into gestural constellations that hover between calculation and intuition. What matters is less a direct correspondence between system and image than the act of mediation itself: the human effort to interpret a signal as it moves across forms, materials, and consciousness. The performance by Sophie Steiner @sophiesteiner_official and Chatori Shimizu @chabobobobobo extends this logic into sound and shared embodiment. Connecting performers and audience with a single thread of yarn is, in one sense, arbitrary, and yet it reconfigures the room, altering how sound is played, heard, and co-constructed. Boundaries dissolve; each gesture becomes part of an emergent ensemble. What kinds of unorthodox notation can shape music within such a network? What feedback loops might even reach back to Tan Mu herself, the painter at the origin point? Signal and Everything on the Line suggest that an arbitrary gesture is never empty. It generates new relations, where noise becomes form and connection becomes composition. –Saul Appelbaum @thepioneers.la

Today 6-9pm! Opening reception for Tan Mu: Signal, curated by Nick Koenigsknecht. Tan Mu’s ongoing Signal series is a sustained artistic investigation into the invisible architectures of global communication. The series transforms submarine fiber-optic networks into symbolic “digital constellations”—bridging abstraction and representation, emotion and system. The artist reimagines these hidden infrastructures not merely as technical constructs but as vessels of collective memory and human connection. By fusing planetary systems with individual and cultural histories, Signal creates poetic diagrams of connection and rupture, mapping time, scale, and collective presence. As part of a longterm collaboration between Tan Mu and BEK Forum on Signal, the exhibition features five paintings from the series, which depict the undersea telecommunication cables that connect and compose our global, techno-human society. This body of work, grounded in Tan Mu’s oil painting technique and diving experience, creates original, milestone imagery that reflects our evolving relationship with both technology and one another. @tan.mu__ @bignickberlin @bekforum #signal #opening

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As part of a new program of online exhibitions I am developing, I’m very happy to share with you a digital presentation of works of Beth Letain, an artist who I have been engaged with for many years. Letain is a master of color and form, and this presentation highlights some of her recent works made over the past 5 years. In a contemporary society often characterized by fleeting and superficial consumption of visual material, I believe that art still has the potential to serve both as a profound medium for expressing the depths of human emotion, as well as a space to reflect. Beth Letain’s painting language embodies the essence of conveying deep meaning through an economy of means. Through a long process of refinement and sketching, she meticulously selects colors and shapes to evoke emotional responses, often prompting viewers to engage their imaginations and reflect on what lies beyond the canvas. Every stroke, hue, and surface quality is intentional, creating a space where silence speaks volumes, inviting contemplation and personal interpretation. Letain’s work engages with the emotional potential of the sublime, demonstrating painting’s power to evoke and explore the human experience. In “Unveiling the Sublime,” we encounter works that emphasize sublimity through clarity and thoughtful restraint. Ultimately, Letain’s approach affirms art’s capacity to transcend its physical form and touch the deepest parts of the human experience.