DECEMBER PLAYLIST
SP LIST: ART EXHIBITIONS & BOOKS
Marilyn Minter at Regen Projects, Los Angeles
from November 6 until 20 December 2025
Minter continues her hyperreal and seductive exploration of beauty, power, and female agency in this exhibition, which features large-scale celeb portraits including Nick Cave, Jane Fonda, and Cindy Sherman – cultural icons who have shaped public imagination on their own terms, alongside the "Odalisque" series which reimagines classical odalisque paintings with modern subjects such as Lizzo and Padma Lakshmi. Across these works, the audience confronts the performative consumption and construction of desire. Her "After Guston" series then provides a direct dialogue with artist Philip Guston, blending his symbolic objects (cigarettes, lightbulbs, hoods) with Minter's established subjects like shoes and iconic magnified mouths to draw a parallel between the work of Guston and contemporary political and social issues.
Left After Guston, #32 (Mouth), 2025, Enamel on wood, Framed Dimensions: 33 1/2 x 25 1/2 x 2 5/8 inches (85.1 x 64.8 x 6.7 cm), Artwork Dimensions: 32 x 24 inches (81.3 x 61 cm), MM 814, © Marilyn Minter, courtesy the artist and Regen Projects
Right After Guston, #18 (Shoe), 2024, Enamel on wood, Framed Dimensions: 21 1/2 x 21 1/2 x 2 5/8 inches (54.6 x 54.6 x 6.7 cm), Artwork Dimensions: 20 x 20 x 2 inches (50.8 x 50.8 x 5.1 cm), MM 811, © Marilyn Minter, courtesy the artist and Regen Projects
Left True Blue, 2022, Dye sublimation print, Framed Dimensions: 61 3/4 x 46 3/4 x 2 1/4 inches (156.8 x 118.7 x 5.7 cm), Image Dimensions: 60 x 45 inches (152.4 x 114.3 cm), Edition 4 of 5, 2 AP, MM 715, © Marilyn Minter, courtesy the artist and Regen Projects
Right After Guston, #31 (Shoe), 2025, Enamel on wood, Framed Dimensions: 21 1/2 x 21 1/2 x 2 5/8 inches (54.6 x 54.6 x 6.7 cm), Artwork Dimensions: 20 x 20 x 2 inches (50.8 x 50.8 x 5.1 cm) MM 816, © Marilyn Minter, courtesy the artist and Regen Projects
Inez & Vinoodh, Think Love at India Mahdavi’s Project Room, Paris
from November 13 to December 12, 2025
For more than forty years, Inez & Vinoodh have pushed the boundaries of visual language in art and fashion, while also pioneering digital image manipulation in the early 1990s. Provocatively seducing the viewer with the intimacy and immediacy of their photography, this new exhibition unveils a new series shot on iPhone 17 Pro Max. Curated by Kathy Ryan, it was originally created for 'Joy, in 3 Parts' and now serves as a prelude to the artists’ forthcoming retrospective 'Can Love Be a Photograph' opening at the Kunstmuseum Den Haag in March 2026.
The show also marks the first photography presentation within India Mahdavi’s Project Room, a space conceived for creative dialogue and cross-disciplinary experimentation, bringing culture to the community and neighbourhood which both she, and the artists, have personal connections to.
Left THINK HUMAN, Apple iPhone 17 Pro Max, Archival Pigment Print on Fine Art Paper, Marfa, Van horn + Jeff Davis County, Texas, August 4-5, 2025, Inez & Vinoodh portrait © Stephane Feugere Photography
Right Charles Matadin, Artist b. 2003, Apple iPhone 17 Pro Max, Archival Pigment Print on Fine Art Paper, Marfa, Van horn + Jeff Davis County, Texas, August 4-5, 2025, Inez & Vinoodh portrait © Stephane Feugere Photography
Senta Simond, Blue Hour published by MÖREL
Swiss-born photographer Senta Simond’s oeuvre has explored how the female form is observed, and the emotion behind being seen, to counter stereotypical views of feminine beauty. Now she turns her lens toward the masculine body – in vulnerable moments, revealing an often-overlooked rawness, embodying and evoking the intimacy and emotional connection of a close relationship, most notably, her partner, model Leon Dame.
Visually tracing the depth of human connection, this series moves through the performative tension and exposure of masculinity, from shots of underwear models to the tender shots that are usually kept private, lover to lover. These moments challenge the often rigid, stoic representations of men in visual culture, highlighting a softer, more vulnerable side of male identity.
All pictures by Senta Simond from the book Blue Hour
All pictures by Senta Simond from the book Blue Hour
Katherina Olschbaur, I Spen All Day Waiting For The Night at Perrotin, New York
from October 30 to December 20, 2025
“I’ve put my heart in this show…” writes Katherina, in an Instagram post, previewing her first solo exhibition for Perrotin in NYC.
That passion can be seen across the works in this exhibition, where an atmospheric interplay of light and colour saturates spatial distortion across fragmented narratives.
Mystical landscapes feature larger-than-life characters like giants in power-play alongside symbolic objects such as birds, the sun and moon – where in place of trying to decode their symbolism, Olschbaur’s nonlinear stream of consciousness is a visual language all of its own.
#2 Katherina Olschbaur, The Piano Player, 2025, Oil on linen, Overall : 78 3/4 x 157 1/2 x 1 7/8 inches Each, panel : 78 3/4 x 78 3/4 x 1 7/8 inches, Picture by Guillaume Ziccarelli, Courtesy of the artist and Perrotin
Left #4 Katherina Olschbaur, 3AM Visitation (after P.), 2025, Oil on linen, Overall : 106 5/16 x 66 15/16 x 1 3/4 inches, Picture by Guillaume Ziccarelli, Courtesy of the artist and Perrotin
Right #5 Katherina Olschbaur, Other Minds, 2025, Oil on linen, 11 13/16 x 14 3/16 x 1 1/4 inches Framed : 13 x 15 inches, Picture by Guillaume Ziccarelli, Courtesy of the artist and Perrotin
Nan Goldin, This Will Not End Well, at Pirelli Hangar Bicocca, Milan
from 10 October, 2025 to 15 February 2025
Having already shown in Stockholm, Amsterdam and Berlin, this exhibition has now landed at Milan’s centre for contemporary art. Curated by Roberta Tenconi with Lucia Aspesi, it brings together the most extensive collection of Goldin's slideshows ever presented, alongside a new sound installation, which unfolds across a series of architectural pavilions – darkened and immersive rooms each crafted to respond to a specific work, creating a multi-sensory environment. From 'The Ballad of Sexual Dependency' (1981–2022) her magnum opus, tracing decades of intimate moments, friendships, and personal struggles, to 'Sisters, Saints, and Sibyls' (2004–2022) exploring familial trauma and suicide, there are also new projects, including 'You Never Did Anything Wrong' (2024), Goldin’s first foray into abstraction, which unfolds as poetic meditations on life, death, and human experience – 'Stendhal Syndrome' (2024) then revisits six myths from Ovid’s Metamorphoses, reimagined through portraits of Goldin’s friends. The title, 'This Will Not End Well', reflects both the precariousness and enduring vitality in Goldin’s approach to life and art.
Picnic on the Esplanade, Boston, 1973, © Nan Goldin, Courtesy Gagosian
Left top Amanda at the sauna, Hotel Savoy, Berlin, 993, © Nan Goldin, Courtesy Gagosian
Left bottom French Chris on the convertible, New York City, 1979, © Nan Goldin, Courtesy Gagosian
Right top Heart-shaped bruise, New York City, 1980, © Nan Goldin, Courtesy Gagosian
Right bottom Gravestone in pet cemetery, Lisbon, 1998, © Nan Goldin, Courtesy Gagosian
Wildness by Mark Borthwick and Duran Lantink, Drop 2, First Edition, 2025
Published by Drop Books, an imprint by Jop van Bennekom for TOP Publishers, Amsterdam
This book brings together the legendary photographer Mark Borthwick and the new enfant terrible of fashion Duran Lantink. Shot during Duran’s Autumn Winter 2025 catwalk collection and over different shoot dates in Paris, ‘Wildness’ represents a magical intersection of an uncompromised photographic point of view and pure fashion joy. Featuring silicone breast-tops, bare-bottomed jeans and animal print galore over 232 pages, edited and designed by Jop van Bennekom.
All pictures by Mark Borthwick from the book Wildness with Duran Lantink
All pictures by Mark Borthwick from the book Wildness with Duran Lantink
John Baldessari, Parables, Fables, and Other Tall Tales at Bozar, Brussels
from November, 2025 to February 1st, 2026
Baldessari was foremost a storyteller, a visual pioneer who looked at stories as a means of conveying experiences and knowledge, which is why this new exhibition of his works is entirely experiential. He turned artistic conventions on their head, wittily challenging the traditional boundaries of art, and this show featuring over 60 of his works – many seen for the very first time in Europe – are a lively and joyful immersion into his photography, paintings, installations, videos, and wallpaper. Steeped in film and photographic culture, Baldessari was a pioneer of image appropriation and collage, long before the advent of computer-assisted image editing. The exhibition illustrates the impact of his work and underscores its relevance for generations born in the digital age.
Left John Baldessari, 1990, © 1990-2025 John Baldessari Family Foundation, Courtesy Estate of John Baldessari; Sprüth Magers
Right John Baldessari, Tetrad Series : All getting on Together, © John Baldessari, 1999. Courtesy Estate of John Baldessari © 2025; Courtesy John Baldessari Family Foundation; Sprüth Magers;Herbert Collection, Ghent
Left John Baldessari, Goya Series : Less than Perfect, © John Baldessari 1997. Courtesy Estate of John Baldessari © 2025; Courtesy John Baldessari Family Foundation; Sprüth Magers; Stedelijk Museum, Amsterdam
Right John Baldessari, Pink Shape over Enrapted Figure (Near White Shape), © John Baldessari 1990.Courtesy Estate of John Baldessari © 2025; Courtesy John Baldessari Family Foundation; Sprüth Magers; ING
Text by Kate Lawson