ERMES ERMES

Last week to visit Nick Bastis’ solo show Leslie, on view until 23 May, 2026 Image: Tom, 2026 Hand-drilled aluminum, paper 58,42x43,18 cm (23x17”) Jerry, Jerry, 2026 Hand-drilled aluminum, paper 58,42x43,18 cm (23x17”) Courtesy ©️artist and Ermes Ermes Photo @luanarigolli #nickbastis

#beatricebonino The fear problem, 2026 plastic, silk ribbon, mesh, tape, wood frame 41x27,5x2,5 cm (16,1x10,6x9,8”) BEATRICE BONINO will be part of the upcoming group exhibitions: Josey and Teatro Grottesco presents Scindere at Josey in Cologne opening 27 May, 2026 A Nail to Hang the Day On curated by Anthony Huberman and Milan Ther at Kunstverein in Hamburg opening 4 June, 2026 Regift – Swiss Institute New York at 40 at LUMA WESTBAU in Zurich opening 12 June, 2026 BEATRICE BONINO AND FRANÇOIS GRAVEL post-everything deluge at Radio Athènes in Athens opening 21 May, 2026 Courtesy ©️artist and Ermes Ermes @betsabeabo

Documentation of Brilant Milazimi’s Hard Teeth, Pavilion of the Republic of Kosovo, 61st International Art Exhibition of La Biennale di Venezia Hard Teeth (Dhëmbë të Fortë), is an immersive painting installation, curated by José Esparza Chong Cuy. This new body of work by Milazimi is anchored by a 17-meter-long landscape painting depicting a single line of figures standing closely, one behind the other, across mountains reminiscent of Kosovo’s rural terrain. Echoing the visual language of procession scenes, the work gathers frail bodies that appear to linger in the landscape. Mounted on a self-standing structure designed by LANZA and staged within the Chiesa di Santa Maria del Pianto, the installation invites close looking. The figures persist and wait, with their teeth tightly clenched. What they are waiting for is never named. This suspension of time and destination reflects decades of lived indeterminacy shaped by political transition, contested recognition, and unfinished bureaucracies of sovereignty for Kosovo. Hard Teeth gives form to the physical and psychological strain of endurance without resolution, capturing an atmosphere of feelings. Courtesy ©️artist and Kosovo Pavilion Photo: Lorenzo Palmieri @brilant.milazimi @kosovopavilion @josesparza @halilajhana @isabellaritterparis

Today in Venice opening: Brilant Milazimi Hard Teeth (Dhëmbë të Fortë) Curated by José Esparza Chong Cuy Pavilion of the Republic of Kosovo 61st International Art Exhibition La Biennale di Venezia Congratulations to Brilant Milazimi, José Esparza Chong Cuy, Hana Halilaj and all the magnificent team of the Pavilion of the Republic of Kosovo Chiesa di Santa Maria del Pianto 3-6 PM More about Kosovo Pavilion link in BIO @brilant.milazimi @josesparza @halilajhana @kosovopavilion @lanzaatelier @bardhihaliti @isabellaritterparis

Venice Biennale opening next week: Brilant Milazimi Hard Teeth (Dhëmbë të Fortë) curated by José Esparza Chong Cuy Pavilion of the Republic of Kosovo Press preview 6 May 2026, 3PM Opening 6 May 2026, 4-6PM Chiesa Santa Maria del Pianto, Venezia Hard Teeth (Dhëmbë të Fortë), is an immersive painting installation,curated by José Esparza Chong Cuy. This new body of work by Milazimi is anchored by a 17-meter-long landscape painting depicting a single line of figures standing closely, one behind the other, across mountains reminiscent of Kosovo’s rural terrain. Echoing the visual language of procession scenes, the work gathers frail bodies that appear to linger in the landscape. Mounted on a self-standing structure designed by LANZA and staged within the Chiesa di Santa Maria del Pianto, the installation invites close looking. The figures persist and wait, with their teeth tightly clenched. What they are waiting for is never named. This suspension of time and destination reflects decades of lived indeterminacy shaped by political transition, contested recognition, and unfinished bureaucracies of sovereignty for Kosovo. Hard Teeth gives form to the physical and psychological strain of endurance without resolution, capturing an atmosphere of feelings. Image: Brilant Milazimi Hard Teeth (detail), 2026 Oil and pen on canvas. Photo: Majlinda Hoxha. Courtesy of the artist; the Pavilion of the Republic of Kosovo; ERMES ERMES, Roma and Isabella Ritter, Paris more about the Kosovo Pavilion 🔗 in BIO @brilant.milazimi @josesparza @kosovopavilion @lanzaatelier @bardhihaliti @isabellaritterparis ❤️‍🔥

#andreasalvino Senza titolo, 2018-2019 Mixed media on paper 40x30 cm (15,7x11,8) Courtesy ©️artist and Ermes Ermes

Today in Vilnius: #dariusmyksys Plebiscite organized by Jennifer Teets in collaboration with Audrius Pocius @dariusmiksys @jenniferlinnieteets @audrius.docx @mayatounta @post.brothers @nchlasmatranga

#lizzibougatsos Severed, 2026 Wood, metal, cotton, face make up, silk garters, lingerie, satin ballet slippers, ribbon 200x38,1 cm (79x15”) Lizzi Bougatsos develops a practice rooted in the transformation of bodily experience into material and spatial form. In Bougatsos’ works, found materials, personal archives, and organic elements are reconfigured into assemblages that evoke the body through absence and foregrounding instability. Her practice unfolds between ritual, performance, and sculpture, engaging with the question of what remains when the body is no longer visible. Presence, in this context, is never fixed - it continuously emerges, dissolves, and is reimagined. Courtesy ©️artist and Ermes Ermes @baby_seal777

Today: #dariusmyksys Plebiscite organized by Jennifer Teets in collaboration with Audrius Pocius @sculpture_vaa @meduza.fyi in Vilnius— all events are open to public 21, 23, 28 April, 2026 “I have noticed that concepts sometimes work better if they are not mentioned; perhaps this is because there is less ‘noise’ in this way. Many years ago, I considered not mentioning ‘art’. This idea worked very well as a piece of art until I temporarily forgot it—the word slipped off my tongue and, sadly, the whole idea seemed ruined. I wonder whether it would be possible to omit my name from the conference for the same reasons. Firstly, what better suggestion could I offer? Secondly, it would be interesting to see text generated by an algorithm that is not itself the topic.” — Darius Mikšys, March 2026 “Darius Mikšys’s Plebiscite” Organized by Jennifer Teets in collaboration with Audrius Pocius, this seminar runs alongside an ongoing editorial project of unpublished texts by artist Darius Mikšys. It begins from an absence: the withdrawal of the artist as a reference point, shifting attention from authorship toward the conditions of meaning production. Resisting both homage and self-mythologizing, the seminar foregrounds participation and dialogue as provisional alternatives to authority, drawing on the productive tensions embedded in Mikšys’s work. “Darius Mikšys’s Plebiscite” operates as a field of inquiry—an experiment in how practice circulates once signature, origin, and interpretive control are destabilized. The seminar consists of lectures, detailed readings and method performances by an international cohort of artists and curators. @dariusmiksys @jenniferlinnieteets @audrius.docx

#andreasalvino L’Appollonide, 2021 Pastel on panel 31x20 cm (12,2x7,8”) We are at Paris Internationale Milano until Tuesday 21 April First floor - booth 1.02 Via Fabio Filzi 25r Courtesy ©️artist and Ermes Ermes Photo @michelapedranti @andreasal

#andreasalvino Pinocchio, 2024 Oil pastel on wood 59x48 cm (23,2x28,8”) Courtesy ©️artist and Ermes Ermes Photo @michelapedranti @andreasal

Documentation of #lizzibougatsos and #andreasalvino presentation at Paris Internationale Milano first edition. Booth 1.02 first floor On view until 21 April, 2026 Via Fabio Filzi 25r, Milano The gallery is delighted to participate in the first edition of Paris Internationale Milano with Lizzi Bougatsos and Andrea Salvino. Through painting and sculpture, their works explore themes of memory, past, fragility and intimacy. Lizzi Bougatsos develops a practice rooted in the transformation of bodily experience into material and spatial form. In Bougatsos’ works, found materials, personal archives, and organic elements are reconfigured into assemblages that evoke the body through absence and foregrounding instability. Her practice unfolds between ritual, performance, and sculpture, engaging with the question of what remains when the body is no longer visible. Presence, in this context, is never fixed - it continuously emerges, dissolves, and is reimagined. Andrea Salvino works across drawing, painting, and sculpture, building his compositions from archival sources, where historical references and imagined figures coexist. In particular, his practice is based on fragments of photographs, postcards, books, and printed materials as images of Western society from the 18th and 19th centuries. Within these compositions, real and fictional figures appear as ghosts, existing between reality and fiction. Political events, war, cinema, eroticism, and social tensions converge, forming a shifting field of associations that reflects the atmosphere of 20th-century Europe. Salvino engages with the contradictions of the present, allowing memory and history to unfold as unstable, continuously rearticulated constructs. Courtesy ©️artists and Ermes Ermes Photos @michelapedranti @baby_seal777 @andreasal