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Take a closer look at Paul Pfeiffer’s ‘Incarnator’ series, on view in his exhibition ‘Olympia’ at Perrotin Los Angeles.
Made in in collaboration with artisans in Seville, Spain, these hand-carved wood sculptures are based on historical sculptures of the body of Christ, including the bound arms of the ‘Ecce Homo’ (“behold the man”) scene of Jesus being presented by Pontius Pilate to a hostile crowd. The difference here are the tattoos, based on those of Justin Bieber, many of which contain religious iconography. The combination of deity and pop-star brings together overlapping themes of fandom, religion, fame, and devotion.
Pfeiffer’s sculptures also speak to the 16th-century galleon trade route connecting Spain to the Philippines. Informed by the venerated Santo Niño sculpture brought by Magellan to the Philippines in the 1500s—an object celebrated through an annual festival and procession— Pfeiffer’s sculptures nod to the ubiquitous and equally ritualized image of Justin Bieber, suggesting a modern-day embodiment of Santo Niño.
Experience ‘Olympia’ at Perrotin Los Angeles until November 7.
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@pmp2021 #PaulPfeiffer #Olympia #Perrotin #PerrotinLA #PerrotinLosAngeles
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Paul Pfeiffer, Justin Bieber Ecce Homo I (Seville), 2026
Paul Pfeiffer, Justin Bieber Ecce Homo II (Seville), 2026
Paul Pfeiffer, Justin Bieber Cristo a la columna (Seville), 2026
Paul Pfeiffer, Justin Bieber Legs Crucified (Seville), 2026
28 Oct 2026
We’re thrilled to announce our 2026 Art + Tech Grant recipients
With renewed support from @hyundai.artlab, the Lab will support a new cohort of artists every two years, encouraging sustained artistic development and more opportunities for public engagement.
Our first recipient → @refikanadol and @christinamoushoul, Latent Terrain. In a cross-institutional collaboration with @datalandmuseum, Refik Anadol and Christina Moushoul will transform the museum’s campus into an interactive soundscape.
@chloebensahel’s Neural Networks (Instruments of Darkness) will investigate historical and material connections between textile craft and artificial intelligence, exploring how traditional forms of knowledge and making might inform contemporary approaches to machine learning
@tanyaaguiniga’s The River Loom will create a network of handwoven sculptural beacons along the Los Angeles River that collect and communicate data about the river’s movement and environmental conditions
@tanyaaguiniga’s The River Loom will create a network of handwoven sculptural beacons along the Los Angeles River that collect and communicate data about the river’s movement and environmental conditions
Paul Pfeiffer’s (@pmp2021) Vitruvian Figure (Olympia) will use Los Angeles’s preparations for the 2028 Olympic Games as a framework for exploring the technologies and media systems that shape mass spectatorship.
20 Oct 2026
On the occasion of his exhibition ‘Olympia’ at Perrotin Los Angeles, Paul Pfeiffer discusses two bodies of work, ‘Vitruvian Figure (Los Angeles Memorial Coliseum),’ and new sculptures from his ‘Incarnator’ series.
Hear the artist talk about the evolution of his practice in relation to sports, religion, and the attention economy. View the full video on Perrotin’s website—link in bio.
Visit ‘Olympia’ at Perrotin Los Angeles through November 7.
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@pmp2021 #PaulPfeiffer #Olympia #Perrotin #PerrotinLA #PerrotinLosAngeles
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Video by Guillaume Ziccarelli @guillaume.ziccarelli
14 Oct 2026
For close to three decades, packed arenas have played a starring role in Paul Pfeiffer’s conceptual practice, an ongoing study in the optics and rituals of spectatorship.
“The stadium is a good metaphor for the myriad ways in which individual subjects can be brought into group alignment,” he told Janelle Zara after opening his latest show at @perrotin in Los Angeles. The artist’s new architectural drawing series “Vitruvian Figure (Los Angeles Memorial Coliseum)” reimagines the titular athletic venue with 1 million seats, which in aerial views blur into indistinguishable black lines—a visualization of online spectatorship, where fans are now infinite but largely invisible to one another.
Elsewhere in the gallery, a sculptural pair of legs bears the bleeding wounds of stigmata on its feet, and “Better At 70,” the inelegant poetry of a real Justin Bieber tattoo, scrawled onto its thigh. For the show, the artist unveiled a few new additions to his “Incarnator” series, 2018-present, in which he commissions encarnadores, Catholic woodworkers specialized in the hyperrealist depiction of Christ, to sculpt parts of the pop star’s dismembered body.
For Pfeiffer, churches are a lot like stadiums, ancient forerunners “in the R&D of mass communication.” His merged Jesus Biebers articulate uncanny parallels between two globally worshipped brands—two tragic sons who died (or went to rehab) in order to rise again.
Link in bio to read more about Pfeiffer’s latest entries into his decades-long inquiry of our evolving relationship to spectacle.
Words: @janellezara
11 Oct 2026
Works from Paul Pfeiffer’s (@pmp2021) Incarnator' series are currently on view in the group exhibition 'Broken. The Power of the Fragment', a major exhibition celebrating the evocative power of the fragment in the history of sculpture, from archaeology to contemporary art, at @palazzostrozzi.
Featuring more than eighty works and artefacts from some of the world’s most important museums, the exhibition examines the fragment from a new perspective: not simply as the remnant of a lost whole, but as an autonomous object, capable of preserving traces of memory and transformation.
On view until 24 January, 2027.
Photos © Ela Bialkowska, OKNO Studio
07 Oct 2026
Paul Pfeiffer, ‘Olympia,’ opens today at Perrotin Los Angeles. Join us from 6–8 PM to celebrate with tacos and drinks!
In ‘Olympia,’ Pfeiffer expands the idea behind his 2008 sculptural work ‘Vitruvian Figure’—a large-scale maquette of a phantasmatic 1,000,000 seat stadium—by proposing a similar exponential blow up of an iconic local sports venue: the L.A. Memorial Coliseum. The resulting project, ‘Vitruvian Figure (Los Angeles Memorial Coliseum),’ explores the way in which architecture embodies the spectacle as well as the way that our bodies inhabit that built environment.
Pfeiffer also exhibits the newest installment of his ongoing ‘Incarnator’ series (2018–), a multi-part wooden sculpture of bodily fragments based on historical icons of the body of Christ. Working with traditional woodcarving artisans known for their production of religious icons, Pfeiffer presents sculptural interpretations of the tattooed body of the born-again Christian pop singer Justin Bieber, a celebrity born of the era of social media whose personal and career path has been entwined with, or rather incarnated by, the viral hyper-circulation of images in the era of social media.
Join us Saturday, September 19, at 3 PM, for a conversation between Paul Pfeiffer and Britt Salvesen, Curator and Department Head, LACMA, as they discuss the spectacle of sport and the upcoming LA28 Olympics.
Visit the exhibition now until November 7 at Perrotin Los Angeles.
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@pmp2021 #PaulPfeiffer #Olympia #Perrotin #PerrotinLA #PerrotinLosAngeles
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Exhibition views of Paul Pfeiffer’s ‘Olympia’ at Perrotin Los Angeles, 2026
Paul Pfeiffer, Justin Bieber Legs Crucified (Seville), 2026
Paul Pfeiffer, Vitruvian Figure (Los Angeles Memorial Coliseum: Elevations), 2026
Paul Pfeiffer, Justin Bieber Ecce Homo III (Seville), 2026
Paul Pfeiffer, Vitruvian Figure (Los Angeles Memorial Coliseum: Vomitorium II), 2026
Paul Pfeiffer, Justin Bieber San Juan de la Cruz (Seville), 2026
Photographer: Paul Salveson
Courtesy of the artist and Perrotin
18 Sep 2026
Opening Friday, September 18, at Perrotin Los Angeles: Paul Pfeiffer, ‘Olympia.’
Paul Pfeiffer returns to Los Angeles with an ambitious exhibition that puts the City of Angels squarely in the cross-hairs of his canny examination of media, spectacle, architecture, and the body.
Pfeiffer revisits his million-seat stadium project, imagining one of Los Angeles’s iconic venues, LA Memorial Coliseum, expanded to one million seats: a provocative representation of spectatorship in the age of social media. Looking ahead to the LA28 Olympics, Pfeiffer recasts the iconic stadium in form of architectural renderings inspired by Gothic and Renaissance architectural plans.
Presented alongside his stadium drawings are new sculptures from Pfeiffer’s ‘Incarnator’ series—fragments of Justin Bieber’s body (recognizable from his tattoos)—crafted in collaboration with skilled carvers from the Seville region of Spain who carry-on the centuries-old tradition of religious life-like sculpture. Bringing together historical, religious, and pop-cultural references, Pfeiffer reorients our understanding of contemporary visual culture and its orchestration of desire, belief, and memory.
On Saturday, September 19, at 3 PM, join us for a conversation between Paul Pfeiffer and Britt Salvesen, Curator and Department Head, LACMA.
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@pmp2021 #PaulPfeiffer #Olympia #Perrotin #PerrotinLA #PerrotinLosAngeles
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Portrait of Paul Pfeiffer by Claire Dorn
Paul Pfeiffer, ‘Vitruvian Figure (LA Memorial Coliseum)’, 2026.
Courtesy of the artist and Perrotin.
04 Sep 2026
Koray Duman will join Urshula Barbour and Celia Imrey for “Medium and Message: An Introduction to Exhibition Design,” the first event of AIANY’s “The Spaces Between Objects: Architecture, Exhibition Design, and the Collaborative Process” series.
The conversation will explore exhibition design through narrative (the message), spatial experience, and multidisciplinary collaboration (the medium), and ask what distinguishes exhibition design from architecture and interiors.
Tuesday, September 8, 2026
6–8 PM
Center for Architecture, NYC
Speakers:
Urshula Barbour, Co-Founder, Pure+Applied
Koray Duman, AIA, LEED AP, Founder, Büro Koray Duman
Celia Imrey, AIA, Founder, Imrey Studio
Moderator:
Stefan Klecheski, AIA, Co-Founder, SAT Spatial and Steppe
RSVP: Link in Bio
Photo 1: View of the exhibition “Prologue to the Story of the Birth of Freedom” at the Museum of Contemporary Art Chicago @mcachicago , 2025. Courtesy of Museum of Contemporary Art Chicago/Paul Pfeiffer @pmp2021
Photos 3–4: View of the exhibition “59th Carnegie International” at Carnegie Museum of Art @carnegiemuseumofart .Photo by Zachary Riggleman @zacriggleman
Photos 6–7: View of the exhibition “Future Schools” at the National Academy of Design @natlacademy .Photo by Argenis Apolinario @argenisphoto
27 Aug 2026
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Paul’s legendary work has transformed the way we understand spectatorship through video and installation. Honestly, what even is there to say, we love you Mr. Handsome iconic Paul!
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22 Jul 2026
As Mulberry Bend has come to a close, we’d like to extend our heartfelt thanks to everyone who visited the exhibition, attended our public programs, shared conversations, and spent time with the work.
“Marking the culmination of my Protocinema’s Emerging Curator Series (PECS) experience, the group exhibition Mulberry Bend honestly reflected the concerns that shape my curatorial practice, thanks in large part to the intimacy and care in fostering my voice. As an emerging curator contending with our shared state of precarity, I believe that PECS offered me the necessary time and space to consider my contributions and social responsibilities.”
– Dylan Seh-Jin Kim
It is with gratitude and appreciation that we thank all of the artists, colleagues, supporters, and visitors to the exhibition Mulberry Bend with Canal Street Research Association, David L. Johnson, Sidian Liu, and Paul Pfeiffer which was curated by Dylan Seh-Jin Kim within Protocinema’s Emerging Curator Series for 2025-2026 and hosted at ISS Storefront for Ideas, New York. This year’s Emerging Curator program was mentored by Mari Spirito, Executive Director, Protocinema; Jessica Kwok, Head of Programs and Curatorial, Asymmetry, London; and Christopher Y. Lew, Founder of C/O: Curatorial Office, New York. Mulberry Bend ignited many lively conversations that are still going on today.
17 Jul 2026
- 𝐆𝐡𝐨𝐬𝐭𝐬 𝐈𝐧 𝐓𝐡𝐞 𝐑𝐢𝐧𝐠 - In his 2015 work 'Caryatid', artist Paul Pfeiffer digitally removed one boxer from historic fight footage, leaving the other to absorb the effects of punches that no longer exist.
It's strangely profound.
Without seeing the punch, you become hyper aware of its consequences.
Look closely at the visceral impact of the blows. The recoil. The loss of balance. The damage.
The force itself disappears, leaving only its brutal effect behind.
And somehow, that makes it feel even more real.
Artist: @pmp2021
18 Jun 2026
For me, one of the most beautiful and moving moments during the opening days of the Venice Biennale was the reception hosted by the Denniston Hill Foundation and the short speeches given by its founders, Lawrence Chua, Paul Pfeiffer and Julie Mehretu. @dennistonhill @pmp2021 @juliemehretu @venice.art.biennale @carliergebauer @lawrencechuaa
09 May 2026
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