Drawing on quantum physics and science fiction, Steyerl collapses temporal and spatial boundaries, creating a series of narrative ‘leaps’ that move from microorganisms to galaxies, from the Neolithic to imagined futures. Inspired in part by an anecdote from critic Darko Suvin — who survived a 1941 bombing by imagining himself inside a Flash Gordon serial — the project reflects on how alternate worlds can emerge in moments of crisis.

Hito Steyerl provokes ‘a clash between two different notions of time: the junk time of technology and capitalism that disrupts time with continuous jumps and loops that interrupt and exhaust us, and the deep time — not human time, Neolithic time, underwater time — times that are outside of the human artificially created spectrum.’

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At the heart of the exhibition is a suite of site-specific commissions, many emerging from a two-year collaboration between Aitken’s studio and more than a dozen artisans across India. Working with local materials and advanced craft techniques, these collaborations weave regional knowledge into Aitken’s wider investigation of how we navigate history and imagine what comes next.

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At the center of the exhibition is Havoc, an immersive new installation featuring a pack of larger-than-life fighting dogs created especially for this presentation. Oversized yet quietly charged, the work draws viewers into a space that feels both intimate and unnervingly tense.

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As the third in a trilogy of exhibitions developed in collaboration with the Victoria and Albert Museum, London, the show brings together glittering works from the V&A and The Al Thani Collection, many shown in France for the first time.

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Cornell (1903–1972), a self-taught artist who never left the United States yet wandered Paris through books, postcards, and conversations with Marcel Duchamp, created some of the twentieth century’s most original collages and assemblages. His basement studio, lined with whitewashed boxes and jars of ephemera, provided the raw material for the poetic shadow boxes that would influence generations of artists.

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Drawing on perspectives that challenge the Western divide between the natural and the artificial — including pan-Asian philosophies like Shintoism, which sees spirit in all things — the exhibition moves fluidly between avatars, doppelgängers, and seductive machines. Inspired in part by Hans Christian Andersen’s ‘The Nightingale,’ it reflects on what might be lost when the mechanical stands in for the soulful.

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The installation is composed of expansive crochet structures woven from industrial cotton fabrics in shades of brown and pink. These colors, chosen to evoke tree trunks and night alongside flowers and day, establish a dialogue between natural rhythms and architectural structure. Suspended and filled with dried guava leaves and locally sourced tea leaves, the artist‘s forms invite a multi-sensory encounter that engages smell both texture together.

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Bringing together works by 116 artists — many from the Global South — the exhibition examines how colonialism, environmental racism, and capitalism have shaped contemporary ecological realities while foregrounding resilience, solidarity, and interconnectedness. Rejecting the notion of ‘nature’ as something separate from society, it instead proposes ecology as a living network of forces — fluid, relational, and constantly transforming.

Organized into five thematic sections, Histories of Ecology traverses spiritual, territorial, and planetary dimensions, inviting viewers to imagine more inclusive ways of inhabiting the world and to see the future as a shared, collective endeavor.

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Organized in collaboration with M+ Hong Kong, the exhibition unfolds as a landscape where individual memory and historical fragments intersect with broader sociopolitical references. The show charts the evolution of Lee Bul’s practice, and highlights her role in expanding conversations around humanity’s past and imagined futures.

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The exhibition brings together key pieces from across Pape’s career, from her early abstract engravings to her monumental Livro Noite e Dia III (Book of Night and Day III, 1963–1976), as well as a selection of experimental films. Deeply informed by Brazil’s sociopolitical context, her work reflects a commitment to social transformation, dissolving the boundaries between art and life. The show highlights Pape’s place alongside Lygia Clark and Hélio Oiticica as one of the defining voices of Brazil’s postwar avant-garde.

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