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Burn to Redeem: Evil Biscuit and the Theology of the Trading Card

Evil Biscuit strips vintage holographic cards down to bare silver foil and prints Drifella over the wreckage, turning destruction into a working theology of rebirth.

Sahatsa Jauregi's Pájaros: five slumped black rubber boots on a raised stone platform in a frescoed side chapel of the Church of Sant Feliu, Lladó, cut-steel branches and crosses rising from them.

KIN TOO by Monia Ben Hamouda, Andrew Birk, Michele Gabriele, Sahatsa Jauregi and Jordi Mitjà

Monia Ben Hamouda, Jordi Mitjà and their kin cast, imprint and discard their way toward images that did not exist before, turning a deconsecrated Catalan church into an argument for the negative.

Jan Baszak, installation view of the first floor with Two-Headed Calf at left, a black leather relief set into a brick arch and a dark faux leather wall lining the room

A Gentle Kiss On A Double Forehead by Jan Baszak

Jan Baszak lines an old brick tower in faux leather and turns catafalques, a sock dog and a two-headed calf into a liturgy of attention paid to what cannot look back

frequently, only silence can express my prayer

St. Therese

Angelika Puff turns hair into a material archive of attachment, staging inheritance and loss in a Gothic church where every bond frays yet never fully severs.

Hairline Fractures: Angelika Puff's Reliquary of Hair, Rupture, and Inheritance

Angelika Puff, Hairline installation view, Gothic nave of Galeria EL, Elbląg, 2026

Erifyli Theofilou stages the pomegranate as method, turning fourteen artists into a rhizomatic field of chance, liveness, and shared authority with no central artwork.

Anti-Arborescent: Pomegranate as Rhizome and the Refusal of the Root

Performance set, Seeds know no tree., New Fears Gallery, Berlin, 2026: deep red-draped chamber with modular synthesizers on flanking tables, concrete plinth centre, PA speakers on tripods, doorway opening to white gallery beyond. Photo: Sandro Mosco

NO FATE: Tristan Gac's Flowers That Outlast the Blast

Tristan Gac turns the nuclear apocalypse into a botanical time loop, where dandelions grip the burning fence long after the last skull has cooled into chrome.

Horror Without Permission: The New Grotesque at Management NYC

Management stages fifteen artists as a collective argument that distortion, abjection, and absurdity are now the only honest forms available to a reality amplified past bearing by the image-machine.

NADIR by Zishi Han and Laurence Sturla

Zishi Han and Laurence Sturla turn the map into an unstable instrument, tracing how cartography extracts, displaces, and possesses the ground it claims only to describe.

"Black" Mastercard 2004 Collection by Alexander McQueen

Alexander McQueen restages his own defining runway moments as a one-night séance in black, turning the retrospective into a reliquary of rain, thorns, and collapse.

CUTE BUT PSYCHO, Gallery Novo, Pula, 2026. Dolphin-human hybrid on marble-print backdrop with faux-fur docking station. Photo: Ivan Buvinić.

Tender Aggression: CUTE BUT PSYCHO and the Liturgy of Platform Affect

Five artists turn the cute, the cringe, and the zany into a diagram of platform capitalism, where affect is currency, attention is labor, and adorability is a trap.

TheHunterIssue Vol.1 by Leo Shmunk

Leo Shmunk turns TheHunterIssue Vol.1 into a critique-via-erasure, draining brand logos and celebrity faces to monochrome silhouettes that hold the fashion cycle in suspension.

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Humiliation Rituals

Where identity is just content, what happens when the likes dry up?

Understanding the ‘Slopocene’

How the failures of AI can reveal its inner workings

Neo-Futurism

As Silicon Valley adopts a century-old movement’s aesthetics, Spike’s editor at large resumes her tech column to ask: What forces compel us to reach back to some romanticized past?

The rise and rise of Lotta Volkova

‘I don’t look at it from a perspective of fashion.’

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Soft Armors: ‘MY FAKE NAILS MY REAL CLAWS’ and the Glamour of the Lethal Object

Thirteen artists turn the accessory into a soft armor: trophy and diary, ornament and weapon, the closet rewritten as a reliquary of becoming, where the next self waits sharpened.

Samuele Stazi, pair of cast aluminum claw gauntlets with sculpted spikes and engraved wing motifs displayed on white plinth, 'MY FAKE NAILS MY REAL CLAWS', Lusvardi Art, Milan, 2026

The Gaze Has a History: Yesakova, Struger & Palyvoda at FAVU Brno

Three artists assemble the anatomical theatre as a living structure: dissection tables, ceramic relics, and mirror-shards mapping the body as site where power inscribes itself and refuses to dissolve.

Installation view, Echoes That Refuse to Fade, FAVU Gallery Brno, showing dissection table, hexagonal floor grid, and wreath chandelier, 2026

Strange Rules by Mat Dryhurst and Holly Herndon

The Colors Within by Naoko Yamada

New Genesis by Abdulhamid Kircher

Blue Blooded — Sangue blu by Hannah Levy

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