venice’s opening week was *a lot* this year – emotionally, spiritually, politically. it’s not a bad thing. here are some moments from an unsettled lagoon of artistic, curatorial, and organisational labour that are still resonating a few days later, even though much is missing from this little carousel:
1. a serpentinian forcola, forever what it is and always what it will be
2-5.
@asian_dope_boys &
@sikosetyanto ’s spellbinding ‘Moyang 先祖 & Seaman 漁師’, shown as part of ‘WE TRAVEL TO KNOW OUR OWN GEOGRAPHY’
@kuboraum /
@inneraum et al.
6-7. staggeringly powerful works and envelopes
@deutscherpavillon by
@sungtieu and
@henrikenaumann , who wrote: “[…] we are the front line. Just as we can be sent to the front at any moment, the front is also dependent on us. What we want to fight for, or against. Whether we fight. Or radically love, let go, be vulnerable. Give up all hardness. Or fight out of love, twice as hard, hardcore.”
8-9. glimpses of the gravitational power that is Saidiya Hartman’s ‘Minor Music at the End of the World’, built and iterated through a vast team of expansive minds, shown here in bizarre resplendence at goldoni
10-11. ‘Escape Room’ by
@angelidakis with
@g.bekirakis – yes, yes, and yes
12-13.
@holyseepavilion ’s ‘The Ear is the Eye of the Soul’ feat. a group of vocal magicians softly squatting in the Giardino Mistico dei Carmelitani Scalzi
14-15. ‘The Phantom Combatants’ by
@krazykosmickid /
@newpessimism – easily among the more powerful and experientially rich works on display this year
16. detail from ‘Helter Skelter’ by Arthur Jafa and Richard Prince;
@nespector @fondazioneprada
17. ‘You’re Looking At Me 004’ by Sang Woo Kim (2024), shown at AMA
18. ‘ The Experimental Paradigm of Ownership and Autonomy’ by Wang Tuo in ‘CANICULA’
@fondazioneinbetweenartfilm , curated by
@alessandro.rabottini and
@leonardobigazzi , had me sat down and sinking for more than an hour
19. ‘Venezia gets to Serie A; or, life goes on’
20. view of a vibe from ‘The Spirits of Maritime Crossing’, Thailand’s representation, feat. a raft of incredible artists
![Para Site welcomes James Taylor-Foster (@jtaylorfoster) as Executive Director!As Para Site marks its 30th anniversary, we’re thrilled to announce James Taylor-Foster as our next Executive Director, joining us in the summer of 2026.James’s practice bridges contemporary art, design, architecture, and digital culture – blurring disciplinary boundaries and exploring new ways of nurturing institutions and their audiences.“Para Site is one of a kind. Its roots as an artist-founded cultural space, born from a unique condition with local and regional creative scenes as its engine, remains its soul.” says James. “Today, as then, contemporary art is our present interrogating itself. At its most powerful, it makes room for thinking in public and radiates outward into culture at large.” His practice as a curator and convenor is rooted in the belief that cultural leadership today means listening closely, facilitating generously, and imagining with courage.Alan Lo (@alanyeungkit), Chair of Para Site’s Board, adds:“James brings a rare combination of curatorial imagination and institutional stewardship. This is precisely the thinking that Para Site needs as it enters its next chapter.”“Para Site was founded thirty years ago by artists who believed Hong Kong deserved a space that was genuinely independent, genuinely curious, and wholeheartedly committed to the art of its time,” Lo continues. “That spirit has never left us. We owe it to our next generation of artists, audiences, and communities to ask what Para Site could be in the decades ahead – not just what it has been. James’s appointment is our answer to that question.”With James at the helm, we’re not looking back: we’re building forward. James’s vision reaffirms Para Site as a place where care and risk coexist with experimentation; where artists, curators, and audiences come together in ways that are rigorous, playful, and provocative.A huge thank you to our community for being part of this journey. Please join us in giving James a warm welcome! We are looking forward to the journey ahead. Full announcement via the link in bio.[Chinese translation & images credit in comments below]#ParaSite30](https://sp1.picnob.com/p/pt_6742115151441967232319_0_035569f24dd382e7a149191069156d36.jpg?o=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&h=aa5ac686c88c2be3ba6c6f46c26cc66c)
![venice’s opening week was *a lot* this year – emotionally, spiritually, politically. it’s not a bad thing. here are some moments from an unsettled lagoon of artistic, curatorial, and organisational labour that are still resonating a few days later, even though much is missing from this little carousel:1. a serpentinian forcola, forever what it is and always what it will be2-5. @asian_dope_boys & @sikosetyanto’s spellbinding ‘Moyang 先祖 & Seaman 漁師’, shown as part of ‘WE TRAVEL TO KNOW OUR OWN GEOGRAPHY’ @kuboraum/@inneraum et al.6-7. staggeringly powerful works and envelopes @deutscherpavillon by @sungtieu and @henrikenaumann, who wrote: “[…] we are the front line. Just as we can be sent to the front at any moment, the front is also dependent on us. What we want to fight for, or against. Whether we fight. Or radically love, let go, be vulnerable. Give up all hardness. Or fight out of love, twice as hard, hardcore.”8-9. glimpses of the gravitational power that is Saidiya Hartman’s ‘Minor Music at the End of the World’, built and iterated through a vast team of expansive minds, shown here in bizarre resplendence at goldoni10-11. ‘Escape Room’ by @angelidakis with @g.bekirakis – yes, yes, and yes12-13. @holyseepavilion’s ‘The Ear is the Eye of the Soul’ feat. a group of vocal magicians softly squatting in the Giardino Mistico dei Carmelitani Scalzi14-15. ‘The Phantom Combatants’ by @krazykosmickid/@newpessimism – easily among the more powerful and experientially rich works on display this year16. detail from ‘Helter Skelter’ by Arthur Jafa and Richard Prince; @nespector @fondazioneprada17. ‘You’re Looking At Me 004’ by Sang Woo Kim (2024), shown at AMA18. ‘ The Experimental Paradigm of Ownership and Autonomy’ by Wang Tuo in ‘CANICULA’ @fondazioneinbetweenartfilm, curated by @alessandro.rabottini and @leonardobigazzi, had me sat down and sinking for more than an hour19. ‘Venezia gets to Serie A; or, life goes on’20. view of a vibe from ‘The Spirits of Maritime Crossing’, Thailand’s representation, feat. a raft of incredible artists](https://sp1.picnob.com/p/pt_6727521930525968224146_0_e4638ad8bcfca0a0e57fbe68e8e7a6d6.jpg?o=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&h=f46493bd2e3a39a273cbb09bcaa7855f)
![Tobias Bradford’s solo exhibition blends robotics, AI, computer games, puppetry, and sound to eerie, stimulating effect. For James Taylor-Foster, these “convulsing automata”—including a deadpan duck—leave him feeling both bewitched and hypervigilant.Read at the link in bio.#jamestaylorfoster #tobiasbradford #saskianeumangallery@jtaylorfoster @saskianeumangallerystockholmImages: [1] Tobias Bradford, Third person (detail), 2026 [2] Tobias Bradford, Oro // Worry, 2025 [3] Tobias Bradford, Duck, 2026. Images courtesy of Saskia Neuman Gallery.](https://sp1.picnob.com/p/pt_6766325845236067282166_0_110ea6a81caed5796fdc02d5a9aadac7.jpg?o=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&h=d84baff3f6d98e9e88aa53816e7f6364)
