APRIL PLAYLIST
SP LIST: ART EXHIBITIONS & BOOKS
Martin Parr, Global Warning, at Musée du Jeu de Paume, Paris
from January 30 to May 24, 2026
More than 175 works span this mesmerising journey through the British photographer’s oeuvre from the 1970s to the present day, in a retrospective that celebrates his iconic documentation of over-consumption, the inequalities of our planet, humanity’s increasing dependence on technology, mass tourism and our complex relationship with the animal kingdom. From his early black-and-white works of the raucous holiday parks and sleepy supermarkets of rural England to colour photography of overcrowded beaches, shopping malls, bustling tourist attractions and must-see destinations from across the globe – Parr has visually captured what is so immediately relevant to our everyday lives, in a time of widespread global disorder.
Left Cozumel, Mexique, 2002, © Martin Parr / Magnum Photos
Right Benidorm, Espagne, 1997, © Martin Parr / Magnum Photos
Left Las Vegas, Nevada, États-Unis, 2000, © Martin Parr / Magnum Photos
Right Kleine Scheidegg, Suisse, 1994, © Martin Parr / Magnum Photos
Thomas Houseago, Journey, at Xavier Hufkens, Brussels
from March 5 to April 30, 2026
This large-scale exhibition celebrates thirty years of Houseago’s collaboration with the gallery, and brings together sculptures in bronze, plaster and wood, spanning ambitious heights. Reflecting on both longstanding concerns and newly emergent directions in the artist’s practice, the show includes an immersive installation entitled, 'Cosmic Snail (Shell Temple)' (2025), which transforms the first floor into a contemplative environment for solitude and reflection. Also on view is 'Giant Striding Figure (Van Gogh on the Road to Arles)' (2025), a paradoxical presence — powerful and advancing, with an underlying vulnerability. Carved from redwood, the work evokes the giant sequoias of the American West Coast, where Houseago lives and works.
Left Miraval Owl, 2025, bronz, Courtesy the Artist and Xavier Hufkens, Brussels, Photo Kunstgiesserei St.Gallen AG
Right Houseago studio by Joshua White, Courtesy the Artist and Xavier Hufkens, Brussels, Photo by Joshua White
Brianna Capozzi, Womanizer, published by Rizzoli US
Capozzi has spent the past decade shaping an attitude in fashion and contemporary portraiture of women. Her images unbind the female form from tradition and honor its erotic power. Her lawless compositions interlace celebrity, the mundane, the absurd, and the surreal. There is an erotic interplay between photographer and subject, with both sides playfully exchanging power. Vibrant photographs of contemporary female icons, including Kim Kardashian, Miley Cyrus, Bella Hadid, Pam Anderson, Dua Lipa, Chloë Sevigny, and Selena Gomez, along with less familiar faces from Capozzi’s New York circle of friends and muses, celebrate a feminine point of view and disrupt the legacy of the female form being depicted for the male gaze. Capozzi’s sophisticated camerawork weaves high fashion with saturated narratives, pop culture, her own handmade garments, and props. The images are enticing, glamorous, and unexpected.
Left Cover of the book Womanizer, © Womanizer by Brianna Capozzi, Rizzoli, 2026
Right Gwyneth Paltrow, New York City, 2024, © Womanizer by Brianna Capozzi, Rizzoli, 2026
Left Chloë Sevigny, Edgewater, NJ, 2014, © Womanizer by Brianna Capozzi, Rizzoli, 2026
Right Emily Ratajkowski, New York City, 2025, © Womanizer by Brianna Capozzi, Rizzoli, 2026
Anna Ruth, Close Quarters, at GRIMM, Amsterdam
from April 10 to May 23, 2026
This show marks the artist’s first solo exhibition with the gallery, showcasing how her practice moves fluidly between painting, sound, and installation.
Living and working in Prague, Ruth’s work is rooted in emotion and transformation. Her work explores the human condition through dreamlike, symbolic imagery and immersive environments. At the heart of her practice lies a reflection on how human society evolves and seeks to understand its existence. Frequently depicting recurring elements such as pearls – symbols of natural beauty that, for Ruth, carry a deeper layer of allusive meaning – night butterflies and bugs, fragile creatures that many people fear, are rendered tentatively with care and detail, highlighting their often-overlooked beauty.
Her use of symbols and motifs is also intuitive and continuously evolves, transforming, overlapping, and melding over time. Always without fixed meanings, her work invites us to dive into these emotional spaces and connect, resonate, feel, wonder, and reflect.
Left Detail of Touching grass is not enough, 2026, Acrylic on canvas in steel frame
Right Pearl snail, 2026, Acrylic on canvas in steel frame
Left Hug my face, 2026, Acrylic on canvas in steel frame
Right Detail of First rose, 2026, Acrylic on canvas in steel frame
Anne Imhof, Fun ist ein Stahlbad, at Serralves Museum of Contemporary Art, Porto
from December 12, 2025 to April 19, 2026
The German artist and choreographer draws from Adorno and Horkheimer’s “Dialectic of Enlightenment” (1947), for this exhibition, which explores leisure as discipline.
Creating an atmosphere of suspended action and deferred presence, where bodies are implied but absent, the Serralves museum’s architecture is transformed into a landscape of emptiness, tension, and ritualised restraint. The centerpiece is a monumental black steel swimming pool, entitled, “Fun ist ein Stahlbad” (“Fun is a Steel Bath”), exploring themes of fragility, violence, environmental anxiety, and control. Marking Imhof’s first outdoor sculpture, it anchors a broader installation of paintings, sculptures, and video works. Made from carbon steel, the pool embodies her ongoing exploration of power, control, and the aesthetics of discipline.
Installation views of Fun Ist ein Stahlbad © João Morgado
Installation views of Fun Ist ein Stahlbad © João Morgado
Walter Pfeiffer, In Good Company, at the Pinacoteca Agnelli, Turin
from April 30 to September 13, 2026
Swiss photographer Walter Pfeiffer has spent over five decades exploring the erotic, celebratory, and intimate dimensions of everyday life, seeking to render ideas of beauty and freedom in strikingly original ways. Initially embraced by underground circles, his work has since attained cult status. Deeply rooted in gay culture, it anticipated a visual language that continues to shape conversations around sexuality and identity. A contemporary of Larry Clark, Nan Goldin, and Peter Hujar, Pfeiffer has developed a foundational body of work in contemporary photography—one that has profoundly influenced later generations, including Juergen Teller, Wolfgang Tillmans, and Ryan McGinley.
This marks the first large-scale, comprehensive presentation in Europe outside his native Switzerland of the artist’s work. Spanning from the early 1970s to the present and organised thematically, the exhibition brings together around one hundred works. From his most iconic series to previously unseen images, it offers a sweeping view of Pfeiffer’s singular contribution to photography across six decades.
Left Untitled, 2004, Lambda print on Kodak paper, © Walter Pfeiffer. Galerie Gregor Staiger, Zurich / Milan
Right Untitled, 1975, Pigment print, © Walter Pfeiffer. Courtesy the artist and Galerie Gregor Staiger, Zurich / Milan
Left Untitled, 1984, Pigment print, © Walter Pfeiffer. Courtesy the artist and Galerie Gregor Staiger, Zurich / Milan
Right Untitled, 2013, Pigment print, © Walter Pfeiffer / New Art Corps
Elizabeth Peyton, Mountains in my Heart, David Zwirner, New York
from March 19 to May 2, 2026
Peyton’s signature intimate portraiture is seen across this show, in a mix of both new and recent works which blend with themes of classical mythology and introspection. Central to the visual story is the Greek myth of Sarpedon, which Peyton draws from to explore universal themes of love, loss, and the "soothing" nature of acceptance in the face of tragedy. Notably small-scale and intimate, the works feature subjects ranging from ancient heroes to contemporary figures like Bob Dylan and filmmaker Atesh Atici.
Happy Together (WKW), 2022-2024, © Elizabeth Peyton, Courtesy the artist and David Zwirner
Lindsay Perryman, 'Tops', published by Palm* Studios
“TOPS was created from the desire to display transmasculine vulnerability. My experience with top surgery, with its many stages of tenderness, holds the urgency, trauma, and grief it took to become myself. The aftermath illuminated the gift of community, as well as the potential dangers for those who do not have it. Although everyone’s experiences are not alike, romanticising the healing process was a part of recovery. The recurring presence of scarring holds the weight of not just physical change, but emotional and communal healing. Many of those featured in TOPS refer to the commitment of their caregivers devoting time to their wellbeing, granting them the access to a greater depth of resilience many hadn’t accessed before.” Lindsay Perryman
All pictures by Lindsay Perryman from the book TOPS
All pictures by Lindsay Perryman from the book TOPS
Bruce Weber, Try a Little Tenderness, at Fahey Klein, Los Angeles
from April 9 to June 6, 2026
This long-awaited exhibition offers an expansive reflection on how an artist is formed—not by formal instruction alone, but by family, friendship, mentorship, love, collaboration, and lived experience. Drawing on decades of photographic work from across Weber’s career, the exhibition unfolds as a visual memoir, tracing the emotional and creative education that shaped Weber’s distinctive vision.
Left Adirondacks, New York, 2003_© Bruce Weber, courtesy of FaheyKlein Gallery, Los Angeles copy
Right Edu and Jorge, Porto Ercole, Italy, 2022_© Bruce Weber, courtesy of FaheyKlein Gallery, Los Angeles copy
Left Lisa Marie and Rodney Harvey, Carmel, California, 1988_© Bruce Weber, courtesy of FaheyKlein Gallery, Los Angeles copy
Right Green Chimneys, Brewster, New York, 1994_© Bruce Weber, courtesy of FaheyKlein Gallery, Los Angeles copy
Collier Schorr, Problems & other stories at Modern Art, Paris
from March 5 to April 4, 2026
This show revisits four decades of Schorr’s practice, in which art becomes a tool to probe contemporary subjectivity and the shifting relationship between the body and identity.
Emerging between New York and Germany in the 1980s and 1990s, Schorr developed a body of work shaped by postmodernism and early identity politics. Questioning the heteronormative gaze, her images explore beauty, desire, intimacy and the fragile construction of masculinity. Oscillating between reality and fiction, this latest visual journey reveals how images can capture both desire and its constraints, while exposing the tensions that shape the making of the self.
Left Akerman Ballet Script (with Lynsey Piesinger), 2019–2026, exhibition print with collage, Courtesy the artist, Modern Art and 303 Gallery, New York, © Collier Schorr
Right Amber Later in an Interpretation, 2025, silver gelatin print, Courtesy the artist, Modern Art and 303 Gallery, New York, © Collier Schorr, Photo: Modern Art
Text by Kate Lawson