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CURRENT: LIZZI BOUGATSOS - SPATIAL CONCERT ON VIEW UNTIL 5 DECEMBER

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#lizzibougatsos #andreasalvino #behrangkarimi

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#lizzibougatsos Hello Picabia (self-portrait),2026 Bronze glazed ceramic 22x13,5x11,2 cm (8,66x5,31x4,41 in) Courtesy ©️artist and Ermes Ermes Photo @luanarigolli @baby_seal777 14 Nov 2026

Extended: Lizzi Bougatsos’ solo exhibition Spatial Concert has been extended until 5 December, 2026 1. Lizzi Bougatsos Big man, little girl, 2023 Leather, bronze casted baby shoes, bronze tag 2. Lizzi Bougatsos Goodbye My Love, 2023 Yoko Ono’s dress, Japanese fabric belt, rope, velvet, polyester 3. Lizzi Bougatsos “Showtime”, 2023 Aunties tea towel, plexiglass thread, matte board, fabric, gloves, velvet 4. Lizzi Bougatsos Untitled, 2025 YSL stilettos, snakeskin leather, costume jewelery, metal, duct tape Courtesy ©️artist and Ermes Ermes Photo @luanarigolli @baby_seal777 11 Nov 2026

(no caption) 06 Nov 2026

#andreasalvino Noi, 2025 Pencil on paper 24,5x34,2 cm (9.6x13.5”) Salvino’s artistic practice is closely tied to history and draws inspiration from political, social, and cinematic iconography—primarily from 20th-century — in Italy and Europe—up to the present day. His work can be understood as an unofficial chapter of history told through images, using anecdotes and details drawn from visual sources. The subjects that Salvino brings to life in his drawings and paintings are historical stills identified in photographs, old postcards, books, films, or prints and selected as particularly significant iconographic motifs capable of describing the era from which they derive and the culture to which they refer. Political and social events, war, eroticism, customs, and cinema unfold in Salvino’s drawings as if they were fragments of a past reality capable of providing and restoring to the viewer a “piece” of identity. In fact, Salvino, without claiming to take political or ideological positions, reveals through his works the importance and power of images as elements that prompt us to remember, to evoke a historical event or other occurrence, and ultimately, to recognize a world of belonging that transcends all taboos. Courtesy ©️artist and Ermes Ermes @andreasal @neucoeln 05 Nov 2026

TODAY OPENING: Neu Cöln with works by Anders Edström and Andrea Salvino NEU CÖLN November 4–8, 2026 Heilig Kreuz Kloster Lindenstraße 45 50674 Cologne Images: Andrea Salvino Mutanda rossa, 2026 30 x 21 cm (11 x 8.3’’) Marker on cardstock Courtesy ©️artist and Ermes Ermes @andreasal @andersedstrom_photographs @galerie_neu 04 Nov 2026

#lizzibougatsos “Showtime”, 2023 Aunties tea towel, plexiglass thread, matte board, fabric gloves, velvet 92,8x62,5x7cm (36,54x24,61x2,76 in) Courtesy ©️ artist and Ermes Ermes Photo @luanarigolli @baby_seal777 03 Nov 2026

#lizzibougatsos Lizzi Bougatsos Untitled, 2025 YSL stilettos, snakeskin leather, costume jewelery, metal, duct tape 109.5x24x11 cm (43.11”×9.45”×4.33”) Courtesy ©️artist and Ermes Ermes Photo @luanarigolli @baby_seal777 30 Oct 2026

(no caption) 29 Oct 2026

TODAY OPENING: the gallery is delighted to announce the participation of Beatrice Bonino in Marisa Merz - La Danza Delle Ore Curated by Chiara Bertola, Sébastien Delot, Francesco Manacorda, Beatrice Merz, Chiara Parisi, Marianna Vecellio Museo Castello di Rivoli Museo d’Arte Contemporanea, Fondazione Merz and GAM – Galleria Civica d’Arte Moderna e Contemporanea di Torino Opening reception: 28 October, 2026 / 4.00-8.30PM The exhibition will be on view until 4 April, 2027 The exhibition at Castello di Rivoli, curated by Francesco Manacorda and Marianna Vecellio, offers an opportunity to reconstruct and present once again to the public the installation E il naufragar m’è dolce in questo mare, a major project that Marisa presented in 1980 at the Tucci Russo gallery in Turin, before presenting a different version later that same year at the 39th Venice Biennale. The installation, situated in the Manica Lunga on the third floor of Castello di Rivoli, will serve as the exhibition’s focal point, from which themes and explorations will branch out. These include the striving to reveal the invisible and the artist’s ability to visualise metaphysical visions, revealing reality beyond any sensory appearances. Furthermore, the exhibition invites a group of artists who continue certain elements of Marisa’s practice and vision to participate in an expanded retrospective: Leonor Antunes (Lisbon, 1972), Micol Assaël (Rome, 1979), Beatrice Bonino (Turin, 1992), Miriam Cahn (Basel, 1949), Tacita Dean (Canterbury, 1965), Thea Djordjadze (Tbilisi, Georgia, 1971), Lara Favaretto (Treviso, 1973), Daiga Grantina (Saldus, Latvia, 1985), Armineh Negahdari (Tehran, 1994), Solange Pessoa (Ferros, Minas Gerais, Brazil, 1961). Image: Beatrice Bonino Untitled (Funny and fun II), 2024 Silicone, plastic, rubber 101 x 28.5 x 12.5 cm (39.76 x 11.22 x 4.92 in) Courtesy ©️artist and Ermes Ermes @betsabeabo @francesco.manacorda @marianna.vecellio @castellodirivoli 28 Oct 2026

CURRENTLY at the gallery: Lizzi Bougatsos’ solo exhibition Spatial Concert Astronomical Phenomena The moon’s surface is actually pretty dark, but it looks bright to us because it sits in full sunlight. The sun illuminates it and it reflects that light down to us. Before the invention of complex tools like the bow and arrow, humans relied heavily on nocturnal ambush hunting, aided by moonlight. Analysis of Upper Paleolithic cave art—such as the famous paintings in Lascaux Cave—shows sequences of dots, lines, and ‘Y’ symbols alongside animal depictions. Scientists believe these markings represent the earliest known lunar calendars, used by Ice Age hunter-gatherers to track the exact times of animal mating, migration, and birthing cycles. Knowing when a prey would migrate or when it was vulnerable during reproductive cycles provided a major advantage. Ice Age hunter-gatherers were modern human populations during Earth’s last major glacial period, when thick glaciers—sometimes several miles deep—covered much of the Earth’s surface. These early humans invented bone needles and awls to pierce thick hides, allowing them to sew form-fitting, multi-layered garments. They utilized specific furs for different purposes—using heavy mammoth or bear hides for outer insulation and softer fox or wolf fur for inner linings to trap body heat. Researchers say that delicate needles made from smaller animal bones were important for survival because they helped humans sew tailored garments with smaller seams that insulated the body from the cold. As garments covered the body more completely, personal adornment shifted from direct body modification (like painting or scarring) to sewing beads, shells, and ivory ornaments directly onto clothing. When the glaciers began to retreat, they exposed dark land and open ocean water underneath. Instead of reflecting sunlight, these dark surfaces absorbed the heat, rapidly warming the surrounding air. The end of the Ice Age marked the transition into a remarkably stable, warm period that continues to the present day. — Bernadette Van-Huy Courtesy ©️ artist and Ermes Ermes Photo @luanarigolli @baby_seal777 @bernadettevanhuy 27 Oct 2026

TOMORROW OPENING: BEHRANG KARIMI ∙ HUBERT KIECOL ∙ URSULA SCHULZ-DORNBURG curated by Martin German at Haus Mödrath Räume Für Kunst in Karpen. Opening reception: 25 October, 2026 The exhibitions will run until April, 2027 Haus Mödrath is proud to announce a new format in which each of its three floors hosts a different solo show – each in conversation with the others. The first edition welcomes three Rhineland-based artists – Ursula Schulz-Dornburg (b. 1938), Hubert Kiecol (b. 1950), and Behrang Karimi (b.1980) – whose works explicitly engage with their location and its surroundings. Across their three different approaches, media, and generations, one overarching question remains: How can something appear so rich in history that it seems to predate its own creation? Even Haus Mödrath offers interesting answers to this question. Built around 1830, this classicist manor house has changed identities several times over its turbulent history, for example being used as a Nazi training center during World War II, but afterwards also as a children’s home. Today it stands alone, as after 1956 the village of Mödrath was relocated to make room for the lignite mine of Frechen – now abandoned. As the only extant structure in the area, the building has lost its place, becoming the type of object these artists explore both concretely and metaphorically. #behrangkarimi @martin.germann @hausmoedrath 24 Oct 2026

ART BASEL PARIS closing today. The fair will be closed on Saturday and Sunday, 24-25 October. Installation views of our solo presentation by Beatrice Bonino. Emergence Sector — Booth 1.M22 The environment of the booth is approached as a private, intimate space or room, and just like in a stage set Bonino probes ideas of “existence,” “through action”. Transported to the realm of things, the artist, picking up on parallel questions posed by standalone Italian artist, Gino De Dominicis (1947-1998), engages with the understanding of “existence as the verification of the possibility of the existence of things.” With the underlying question of whether some things exist more than others, Bonino asks if “some objects require the destruction of their original qualities, while others the appearance of new ones: boxes are empty, a lipstick is a bullet, a ribbon is language absorbed into the folds of matter.” Excerpt from the text by Chiara Siravo Courtesy ©️artist and Ermes Ermes Photo @sebastianopelliondipersano @betsabeabo @artbasel @chiara_clarke 23 Oct 2026

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DfaUOEBlBW1

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DfaUOEBlBW1

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