@kochibiennale opens today. I feel very honoured to be one of the artists in this year’s edition « for the time being » in the invitations programme with the @mac_panama and the endless support by @jenniferchoy My film ‘Zone’ will be presented in the Simi Warehouse and couldn’t have come to existence without the long support of many friends and family who made the film possible, and all the people working for the biennale. @radicallyrebecca @davidverghese It’s so special to present my work within this context, of ever changing energy of the Kochi, and for the first time presenting work in India. Everyone who watched the film while we were installing thought I filmed the work in Kochi, which I think says something about collapsing the distances between these supposedly far spaces, and the radical possibility of imagining new potential pasts and futures. These infrastructure construct our collective fictions and its importance is unmistakable as we glide deep and deeper into the 21st century. The biennale is open until March 31st! @nikhil.chopra.artist @hh_artspaces @marioashleydsouza

If your in Basel, please come by @rosarioaninat and mine presentation @liste_art_fair_basel with @conditions___ 💕

Rosario Aninat (@rosarioaninat ) and Simon Shim-Sutcliffe (@simonshimsutcliffe ) have developed a practice shaped by shared rhythms, contingent on and quietly responsive to the infrastructures they inhabit. Olivia Aherne (@oliviaaherne ) reflects on their ongoing inquiry into how forms once intended to embody stability and progress may express an inherent or acquired fragility. Tap the link in bio to read more.

The line between art and life blur sometimes. Filming in Panama the only real mention of the Chinese workers who worked on the Trans-Isthmithian railway and the Canal, came at the form of a monument overlooking the Canal. My family moved to Panama in 1854 to work on that railway. A little later in an old bookshop in Panama I came across mentions of a Chinese village (Matachin) buried under the waters Lago Gatun. This probably is where they would have lived in segregation. During the time my film was part of the exhibition of 'el agua me ata a tu nombre" at the Museum of Contemporary Art Panama, the monuments to Chinese-Panamanian friendship were demolished at night. Earlier this week I also saw photographs by Mattias Delacroix of how the abandoned American military bunkers I filmed in on the Caribbean side have been reactivated by American troops. I was interested in how memory even within the short time of the filming warps and shifts reality. Each time the film is shown, it lives a new life and new relations to the world. Can the Canal and the zone be the centre of the world, not these European or American capitals? That for me is the lesson I learned most while working on the film. Documentation of the film screenings at Kunsthalle Portikus, where I used to work and thought about many things that were in the film. Documentation of the film at the Kochi-Muziris Biennale where many people who worked on the installation thought the film was shot and set in Kochi. Documentation of Patrick's text on the film in E-Flux in his review of the Kochi Biennale.

when I was living in the Office in Frankfurt , antonia invited me to make a waterfall in the staircase of Medium P around the corner in Fecchenheim in 2021. An intervention that mimicked the conditions of the space in a thin cascading logic. We pick locked the bottom door so people would walk up the waterfall.

Join us today for the launch of our third edition by Niklas Taleb. Find us at the market in Isenbergplatz, Essen from 15:00 to 18:00 pm. @niklastaleb @fictionseditions A percentage of proceeds from this edition will be donated to relief efforts in Gaza and Lebanon. Everyone welcome.

I will be screening Zone at @kunsthalle_portikus on Thursday at 7pm. With a Q and A session with @__julianebischoff Its urgency is exemplified by the longstanding American territorial manoeuvres across the Americas and the world. Power unchecked causes ripples across oceans. Repressed infrastructure becomes aware through a cinematic structuralism, together let’s unpack our contemporary condition! A photograph from 1913 of the American Zone in Panama by the official photographer, Ernest “Red” Hallen.

Fictions presents: an edition conceived by Niklas Taleb @niklastaleb „lush life“ 🌚 MAY 2nd, 2026, 15:00-18:00 Isenbergerplatz, 45128, Essen. All brothers and sisters, our layered world loads up these rythms and beats of reality. Palimpsests be told, we find the instructions in earnst beginnings, middles, and ends. Stack upon stack of wood, this great jigsaw puzzle of rooms, images, and text. Niklas Taleb (b. 1986, Munich) studied at the Folkwang University of the Arts in Essen, where he lives and works. He was founder and co-curator of the exhibition space Belle Air in Essen (2014–17). Taleb was awarded the Peter Mertes Scholarship of the Bonner Kunstverein in 2020. Recent exhibitions include Sapieha Palace, Vilnius; 15th International Kaunas Biennial, LT; Édouard Montassut, Paris; Caprii, Düsseldorf; Cell Project Space, London; Fictions is a project of collaborative editions.

Sometimes I’m struck by how much ones image that ones been fed of a place, and the actual reality clash. Felt particularly acute in Chandigarh in December, corbusier city heavily fortified. Perhaps his imagination was always a slightly medieval modernism. #CastleChandigarh.

My old bedroom in the office in Frankfurt , composed of A4 images of dams. The trap producer who had his sound studio beneath me made it difficult to sleep.

one of the greatest pleasures as an artist, is being able to think and write about the works of friends. people with shared ideas, wavelengths and ways of working. @francoisdurel exhibition, Play, Part, Cut (A City), is on view until 16th of may, at @zaza___milano___napoli in Milan. go visit it, enter the world, as a sculpture, beneath is a fragment of the text, perhaps as a map. "Around the squat streets without a hint of light. Lodged in the rusted cavities of the city. Follow the shade of trenches and towers that forbid us further. The land of sculptures accumulates all loose rays, with eternal soot of our working soul. In this periscopic vision the structures around us become postages stamps of pure infrastructure waiting out against the storm, the great exorcism of our earthen floor. At first we align with a tiny black mass hovering seeming always far on distances horizon. As we gain closer, three in unison grow tall in volume as the body of the pitch of night. Their hollow scale remains stalling in relation to our own tenuous perception. The accumulated strata of material, crash into us as its sheened blackened corpus erupts up. Braided tension cables and welded wires wrench us down to the foot of our nature as site seers. With their forged hardened beams and open ended funnels collecting time as a potent energy to be watched. All smothered in the soot of the empire with its once ornate internal language. Weaving by paraded boulevards of the port as rusted forms hang down, long-since-shuttered shops in the vein of a dirty minimalism. We enter, opening the creaky door in the Pandora’s box of worlds past. Our pupils dilate in this falling space, a stigmatic crash of our so called panoramic vision. Hanging objects track upward, turned against themselves towards the ever-always-becoming instruments of the unseen. Seeing out in cover from our newfound glassless cockpit-bunker into the vast horizons of painted illusion. As our gears crunch oh so-slowly forward, lurching in their appetite for future rust. Avowed together as disciples for listening, here is a set of internal compositions for our ancient shared origins."

Aldo Rossi cemetary we went to with Melissa and Stefano outside of Modena. Reality is a strange fiction we tell ourselves everyday