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SUEÑO PERRO. INSTALACIÓN CELULOIDE DE ALEJANDRO G. IÑÁRRITU From 18/09/2025 to 26/02/2026 - Fondazione Prada - Largo Isarco, 2 - www.fondazioneprada.org  “Sueño Perro: Instalación Celuloide de Alejandro G. Iñárritu” is a global multisensory exhibition rooted in the intersection of cinema and visual art, created by Academy Award-winning Mexican filmmaker Alejandro G. Iñárritu. In celebration of the 25th anniversary of Amores Perros (2000), Inarritu’s legendary debut feature, “Sueño Perro” brings to light never-before-seen footage which speaks to Amores Perros’ enduring themes of love, betrayal, and violence. These gritty vignettes, once abandoned on the cutting room floor and conserved for a quarter of a century in the film archives at the National Autonomous University of Mexico, capture the charged and interconnected sociopolitical realities of Mexico City, still relevant decades later. Drawing on the raw power and visual poetry of these forgotten images, Iñárritu reimagines their impact through a mosaic of celluloid and sound. At the heart of the installation is a deep reverence for the materiality of 35mm film, whose physical grain, flicker, and warmth evoke a deep sense of nostalgia. “Sueño Perro” marks Fondazione Prada’s third collaboration with Iñárritu, who conceived the film program “Flesh, Mind and Spirit” in Seoul (2009) and Milan (2016), and the experimental VR installation “CARNE y ARENA” in Milan (2017), which was part of the official selection of the 2017 Cannes Film Festival and awarded a special Oscar by the Board of Governors of the Academy of Motion Picture Arts and Sciences. As stated by Miuccia Prada, President and Director of Fondazione Prada, “With this project, we aim to open new perspectives on Iñárritu’s work and on a film that, from its very start, combined the force of realism with the density of symbolism. Twenty-five years after it was released, Amores Perros continues to speak to the present and to capture, with visual and emotional power, the full complexity of the world we live in.” As explained by Iñárritu, “Over a million feet of film were left on the cutting room floor during the editing of Amores Perros. These intensely charged images, sixteen million still frames, were buried in the UNAM film archives for 25 years. On the occasion of the film’s anniversary, I felt compelled to revisit and re-explore these abandoned fragments, with the grain and the ghosts of celluloid which they hold. Stripped of all narrative, this installation is not a tribute, but a resurrection —an invitation to feel what never was. Like meeting an old friend we have never seen before.” Iñárritu’s installation will be on view on the ground floor of the Podium, the main exhibition space of the Milan venue of Fondazione Prada. As part of “Sueño Perro”, a visual and sound display will be conceived by the Mexican writer and journalist Juan Villoro for the first floor of the building. Titled “Mexico 2000: The Moment that Exploded”, it will offer a second layer of narrative from a different perspective. As explained by Juan Villoro, “Amores Perros can be located at a precise historical juncture. In the canonical year of 2000, Mexico was experiencing a rare moment of long-awaited hope: after 71 years in power, the Institutional Revolutionary Party had finally lost a presidential election, and the country was preparing to discover genuine democracy. At the same time, reality presented a panorama of inequality, corruption, and violence.” With his display, Villoro will map the political, familial, societal, religious and economic conditions that gave birth to the three intertwined stories narrated in this film. As he outlined, “Filmed at a ‘moment of change’, Amores Perros did not reflect the end of an era but rather the beginning of a downfall. Twenty-five years later, its social relevance is alarming: what was happening then is still happening now. Its explosion is still ongoing.”  Courtesy information: KOO JEONG A, KANGSE Y, 2024 © KOO JEONG A. Portrait of KOO JEONG A © KOO JEONG A.
KOO JEONG A. KANGSE X Hauser & Wirth Limmatstrasse 22 January – 16 May 2026 Opening this January at Hauser & Wirth’s Limmatstrasse gallery in Zurich is an exhibition of new sculptures, phosphorescent paintings and recent drawings by KOO JEONG A. The exhibition, titled KANGSE X, is derived from the Korean term KANGSE (meaning spatial strength) and is an extension of KOO JEONG A’s previous exhibition ‘ODORAMA CITIES’, presented at the Korean Pavilion for the 60th Venice Biennale, which originated from the artitst’s animation MYSTERIOUSSS (2017). KOO’s multifaceted practice encompasses drawing, painting, sculpture, installation, film, animation, augmented reality and architecture, combined with natural phenomena such as gravity, electromagnetic fields and phosphorescence to open up alternative realities in both a geographic and an astral sense. Coinciding with the artist’s solo exhibition ‘LAND OF OUSSS [GRAVITTA]’ at Kunsthaus Bregenz, the exhibition in Zurich develops KOO’s longstanding exploration of the perception of space and traces the poetry that permeates the artist’s unique universe. The exhibition showcases a series of new bronze sculptures depicting the embryonic figure of Kangse, balancing on a single toe. A recurring character in KOO’s sculptures, animations and drawings and a prominent feature of their presentation at the Korean Pavilion at the 2024 Venice Biennale and the recent exhibition at Luma Arles. Kangse is often found floating through an infinite cosmic void, at once mysterious and mischievous. Set within an interstellar vacuum, the work unfolds through a speculative hand-language referencing the abstract structure of a Diophantine equation and Fermat’s Last Theorem. Ideas of weightlessness are central to KOO’s practice, intimately connected to their explorations of immateriality and multidimensionality. Another sculpture, ‘DENSITY X’ (2025), is suspended in a magnetic field. It represents the latest installment in a long-running series that works to disrupt conventional notions of space and materiality using a levitating ice cube that KOO has materialized variously through drawing, sculpture and augmented reality. ‘LAVA X’ (2025), meanwhile, emits scent to immerse the viewer in a multisensory experience. Fragrance has been central to KOO’s practice since 1996, used by the artist to explore the ways in which spatial perception is influenced by olfactory experiences. Alongside scent, KOO JEONG A’s work frequently incorporates other intangible elements such as light, temperature and sound. At the heart of KOO’s work is an interest in the invisible forces that shape reality, often bridging the terrestrial and the cosmic worlds. Light waves are bent by gravity, while plants bloom in response to light. Named after the classical planets—the Sun and Moon, Mercury, Venus, Mars, Jupiter and Saturn— the Seven Stars series embodies this entanglement. During daylight hours, these paintings appear quiet, minimalistic compositions. Darkness transforms them, revealing them to be painted using phosphorescent pigment that absorbs light over the course of the day. Glowing green stars appear across the canvases, opening a portal into a parallel dimension and forming what the artist coins as the LAND OF OUSSS, a cosmology in which animation, mathematics, and spatial imagination converge into a living monument. Hauser & Wirth Zurich, Limmatstrasse Limmatstrasse 270 8005 Zürich Opening hours: Tue – Fri, 11 am – 6pm Sat, 11 am – 5 pm www.hauserwirth.com  Mona Hatoum | Fondazione Prada, Milan, Italy
Over, under and in between Fondazione Prada, Milan, Italy January 29 — November 9, 2026 Over, under and in between is a site-specific project conceived by Mona Hatoum for Fondazione Prada in Milan that reflects on the turmoil of our times and the precariousness of our existence. Three installations explore archetypal elements of Mona Hatoum’s artistic vocabulary: the web, the map, and the grid. These embody ideas of instability, danger, and fragility to varying degrees of intensity and sensibility, creating a dialogue with the space and, in particular, the viewer’s physical experience. Mona Hatoum, all of a quiver, 2022, installation view, Kesselhaus, KINDL – Centre for Contemporary Art, Berlin, Germany (2022-23). Photo: Jens Ziehe. © Mona Hatoum.  Sheesh Mahal (Triptych), 2024 acrylic, oil, hand-cut canvas collage on canvas, 72 × 96 in overall; 32 × 72 in each panel. Decoding Digital DNA, the recently concluded solo exhibition by New Delhi - based artist Mukesh Sharma, opened on 18 December 2025 at the Main Art Gallery, Bikaner House, New Delhi, India and remained on view for the public until 25 December 2025. The exhibition marked a significant moment in Sharma’s long-standing engagement with technology, materiality, and the ecological afterlife of digital consumption. The exhibition witnessed a strong opening and an encouraging response from collectors, curators, critics, and prominent members of the art and cultural community. The opening preview itself, which saw nearly 50 percent of the works find new homes, is a testament to the collectors’ intuition and the viewers’ willingness to engage with the unfamiliar. Mukesh Sharma expresses humility at this response. For him, it was never about expectations, but about sparking a conversation. The exhibition was not only about the artworks themselves, but also about the spaces created and the dialogues they inspired. Sharma remains deeply grateful to have shared this journey with both collectors and audiences, who not only appreciated the work but also saw a reflection of our times within it. At the heart of Decoding Digital DNA was an immersive environment constructed from technological detritus - keyboards, circuits, wires, chips, and other discarded digital components. Rather than treating these materials as waste, Sharma reimagined them as organic matter with renewed agency. The exhibition sparked engaged conversations around technology as a living presence - embedded in memory, behaviour, and identity and positioned digital materiality as an evolving layer of human existence. In doing so, the exhibition bridged concerns of ecology, sustainability, and post-human futures. Decoding Digital DNA examined technology not as a tool, but as a living archive—one that absorbs human memory, behaviour, and identity over time. By transforming discarded digital components into immersive installations and mixed-media works, Sharma challenged conventional definitions of waste in a technology-driven world. Circuitry and data were presented as organic systems, blurring the boundaries between the mechanical and the living, and raising urgent questions around the environmental afterlife of gadgets and digital consumption. As a conceptual framework, the exhibition also functioned as a subtle yet incisive commentary on contemporary life—entwined with smartphones, laptops, smartwatches, cables, keyboards, and other digital paraphernalia that no longer merely assist human activity but actively shape it. From tracking time to monitoring breath and heartbeat, digital devices increasingly mediate the most intimate aspects of existence. Though Sharma is not a digital native—having been born and formally trained before the digital revolution reshaped everyday life—his practice does not romanticise technology. Instead, it critically examines how human beings are adapting to what he describes as a new addition to our DNA: the digital component. Almost like a fifth base in the building blocks of human DNA, this digital layer has become inseparable from cognition, memory, labour, and identity. Through multi-layered installations using digital detritus, along with recently completed mixed-media paintings, Sharma reflects on the ecological and philosophical consequences of the age of technology and artificial intelligence. His work situates itself at a vital intersection between materiality, digital identity, and sustainability. It speaks to a generation whose memories, emotions, and neural networks are mediated through devices, and whose discarded components silently record histories of use, abuse, and evolution. With a distinctive material intelligence, Sharma assembles and reassembles obsolete technological objects, transforming what is discarded into forms that feel tactile, pulsating, and alive. His works offer a visceral commentary on how deeply technology has merged with human biology—ultimately giving shape to what he terms “digital DNA.” Added by Archana Khare-Ghose, curator In the post-exhibition phase, the discourse generated by Decoding Digital DNA continues through editorial interest, proposed interviews, and critical reflections. These conversations aim to further unpack the ideas that emerged from the exhibition, Sharma’s sustained engagement with technological detritus, and the role contemporary art can play in decoding the afterlife of gadgets in an increasingly data-driven world. LTR: Alison Barrett MBE, Country Director, British Council in India, with artist Mukesh Sharma; Installation view of the exhibition; Raaga, 2025 polyester resin, fibreglass, repurposed laptop keys and paint, 66 × 19 × 48 in. Dhara, 2025 polyester resin, fibreglass, repurposed laptop keys and paint, 44 × 23 × 48 in.  Mukesh Sharma (above) is a prominent New Delhi - based contemporary visual artist with nearly three decades of practice. Born in Doroli, a village nestled in the lap of the Aravallis in the Alwar district of northwestern Rajasthan, India. He holds a BFA from the Rajasthan School of Art, Jaipur, and an MFA from the Faculty of Fine Arts, MS University, Baroda. His work has been presented across several solo exhibitions and prestigious group showcases, both in India and internationally. Sharma’s practice reflects deeply on urban transformation, digital influence, and the tension between small-town rootedness and metropolitan realities. His multidisciplinary body of work spans large-scale site-responsive installations, mixed-media paintings, hybrid prints and immersive spatial constructions. Well-known works include Nagraj (Venice Architecture Biennale, 2014) and PK - Man and Superman (India Art Fair, 2015), both of which stand as markers of his evolving engagement with technology, identity and the future of human - machine interaction. His works are held in public and private collections worldwide, including the Museum of Art & Photography (MAP), The National Gallery of Australia, RMIT University, Swiss Re, and Qualcomm. Mukesh has been featured in leading international and national publications such as The Wall Street Journal, The Economic Times, India Today, The Times of India, Hindustan Times, The Hindu, Art India Magazine, and Visionnaire Moralmoda Magazine, among others. --   On 14 January 2026, the legendary Vienna Konzerthaus will host the only solo concert in Austria this year by the world-famous opera diva Aida Garifullina. At this concert, the opera star, under the direction of Arkady Beryn, one of the outstanding conductors of our time, will perform popular arias from operas by Verdi, Puccini, Bizet, and Charpentier, accompanied by the Győr Philharmonic Orchestra under the baton of Maestro Beryn. In addition, celebrated works of classical symphonic music by Tchaikovsky, Beethoven, Brahms, Verdi, and Puccini will be presented. SPECIAL GUEST: Yury Revich, violin  Aida Garifullina is one of the most sought-after opera singers of our time and appears on the stages of the world’s most important opera houses and concert halls, including Covent Garden, La Scala, the Metropolitan Opera, the Opéra National de Paris, the Arena di Verona, and many others. Endowed with a radiant lyric soprano and a magnetic stage presence, Aida Garifullina captivates audiences not only through the purity and beauty of her voice, but also through her profound musical intelligence and emotional expressiveness.  As a winner of the prestigious Operalia Competition, founded by Plácido Domingo, she has recorded critically acclaimed albums for Decca Classics and collaborated with legends such as Andrea Bocelli and Jonas Kaufmann, confirming her status as one of the brightest stars of the international opera scene. Professor Maestro Arkady Beryn has been a leading figure in the European music world for decades and has received numerous prizes and honors, including the Grand Prix at the International World Orchestra Competition in Luxembourg and the Golden Globe Award of the International VIP Awards. Maestro Beryn has worked with international stars of opera and instrumental music, including José Carreras, Roberto Alagna, Giora Feidman, Sabine Meyer, Anna Netrebko, Misha Maisky, Maxim Vengerov, Maria Guleghina, and many others. As a touring conductor, Maestro Beryn has led numerous internationally renowned ensembles, such as the Bochum Symphony Orchestra, International Symphony Orchestra Germany, State Philharmonic of Rhineland-Palatinate, Philharmonie Südwestfalen, Jerusalem Symphony Orchestra, German Chamber Orchestra Berlin, and Camerata Salzburg, performing in major concert halls around the world, including the Berlin Philharmonie, the Golden Hall of the Vienna Musikverein, and many others. Yury Revich Yury Revich is a Stradivarius violinist, composer, and interdisciplinary artist. He is a laureate of the ECHO Klassik and the International Classical Music Awards, serves as an Honorary Representative of UNICEF Austria, has appeared in the Billboard Top 100 charts, and performs worldwide, including at Carnegie Hall, La Scala, and the Vienna Musikverein. Győr Philharmonic Orchestra Founded in 1862, the Győr Philharmonic Orchestra is one of Hungary’s oldest and most distinguished musical ensembles. Renowned for its rich tradition and outstanding artistry, the orchestra has gained international recognition through tours in Europe, Asia, and North and South America, has performed in prestigious concert halls, and has collaborated with world-class soloists and conductors. Its versatile repertoire spans major symphonic masterpieces, opera, and contemporary music, making it a true cultural ambassador of Hungarian music on the global stage. Melon Music Awards, blackpink member Jennie made music history in georges hobeika couture12/22/2025
 SEOUL, SOUTH KOREA – DECEMBER 20, 2025: BLACKPINK member Jennie attends the red carpet event of the Melon Music Awards 2025 (MMA2025) at Gocheok Sky Dome in Guro-gu, Seoul. (Photo by Georges Hobeika all rights reserved). Jennie wore a GEORGES HOBEIKA Couture look from the Fall/ Winter 2026 collection while attending the Melon Music Awards in Korea on December 20th, 2026.  At the 2025 Melon Music Awards, Jennie made history as the first soloist to win Record of the Year at the ceremony. Jennie’s Daesang for Record of the Year marks the first time a soloist has won the category in MMA history, a detail that carries more weight when considering Melon's methodology. The award specifically recognizes "the artist and producer behind the year's most remarkable musical accomplishment," judged 60% by download and streaming data, 20% by expert evaluation, and 20% by fan voting. Her debut album Ruby, released in March through her self-founded label Odd Atelier and Columbia Records, sold over 661,000 copies in its first week—the highest first-week sales by a female K-pop soloist in 2025. The album debuted in the top ten in 19 countries and reached number three on the UK Albums Chart, the highest placement for any K-pop solo artist. Read More Three tracks from Ruby charted simultaneously on the Billboard Hot 100 ("Like Jennie" at No. 83, "Handlebars" featuring Dua Lipa at No. 80, and "ExtraL" featuring Doechii at No. 99), making Jennie the first K-pop female soloist to achieve this feat. She also became the first and only female K-pop soloist to pass three billion Spotify streams in a single year, and won the Global Force Award at the 2025 Billboard Women in Music ceremony—the first Korean soloist honored at that event. What makes Jennie's win particularly significant: she accomplished this outside the BLACKPINK ecosystem, proving the commercial viability of K-pop soloists operating independently while maintaining group affiliations.   Souhail Guesmi, better known by his stage name Ratchopper, is a multifaceted artist hailing from Jendouba, Tunisia. Seamlessly intertwining being a pianist, composer, DJ, record producer, sound designer and experimental solo artist, he leaves his mark on a diverse range of artistic endeavours.
Driven by a deep curiosity, Ratchopper began his artistic journey at 14 years old. He started exploring sounds by meticulously deconstructing and recreating music that he heard, eventually crafting his own instrumentals. He garnered local attention after sharing his productions online, leading to collaborations with well-known Tunisian artists, and eventually becoming an established name himself. Alongside his growing career as a producer, Souhail began teaching himself piano, honing his technique through improvisation and composing his own pieces. Not long after graduating high school, he decided to actively pursue a career in music, abandoning his academic path in economics. As his skills developed over the years, Souhail's compositions received increasing recognition leading to international commissions, more recently resulting in his chamber music song cycle "Appel de l'Inconnu" headlining at the prestigious Salle Gaveau in Paris, 2023. In-between studio sessions, dj-gigs, composing symphonic pieces, and touring some of the biggest international stages alongside charting artists, he also developed his own experimental and unique sound as a solo artist, releasing three EP's under his own label - the last of which recently dropped exclusively as a download, consciously circumventing streaming platforms. Since 2018, Souhail has also run his own record label BLOC C. Established to provide structure and legal protection to artists regionally, it serves as part of a wider ambition to bring recognition to Tunisian culture and talent, something he always strives for even through his work with international artists, platforming local musicians as well as regional instruments and styles whenever he can. Here ere comes a verrrrrry special SOLO release after 5 years since my last one. Since then, a lot in my life has changed on both professional and especially personal levels and it’s been just crazy least to say! This tiny EP may be a short one (kind of symbolically telling of how much free time I got to myself to be able to do it) but it comes with with a big statement against the degenerating status quo of both the industry and consumer habits. I decided to release this exclusively with limited digital copies that you can get directly from me, no middlemen. - Souhail Guesmi - I’ttidek - عتّيدك : is a native Tunisian term that references any group of things containing five objects or elements. Its etymological root comes from the word “عدد” and “يدك”, which means the number of fingers on the human hand. Visit bts.ratchoppermusic.com  A Triumphant Night for Classical Music: Dubai Opera Hosts a Spectacular Christmas Gala by Berin Iglesias Art  Dubai’s vibrant cultural season reached a new high on 3 December as Dubai Opera welcomed one of the most anticipated events of the year — the Christmas Gala Concert presented by Berin Iglesias Art. The evening proved not only a dazzling display of world-class artistry but also a defining moment in the region’s continued rise as a global centre for culture and performing arts. For the first time, three acclaimed stars of the international opera stage shared one Dubai Opera spotlight: charismatic tenor Vittorio Grigolo, legendary baritone Luca Salsi, and radiant soprano Alisa Medvedeva. Together with the National Symphony Orchestra of Uzbekistan, they delivered luminous interpretations of Puccini, Verdi and Donizetti — a programme steeped in operatic tradition yet infused with the energy of a world-class live performance. The gala played to a full house, underscoring the region’s appetite for premium cultural experiences. Audiences responded to every aria with enthusiasm, and by the final notes the hall rose as one in an extended standing ovation. Among the many standout moments, Vittorio Grigolo’s performance became the emotional axis of the evening. His magnetic stage presence and unrestrained dramatic power drew the audience into a rare kind of shared musical experience. At one point, the hall joined him in song — a spontaneous, electric moment reminiscent of the world’s grandest opera stages. His blend of emotional intensity and brilliant technique made this performance a true highlight of the season. Maxim Berin, CEO of Berin Iglesias Art, described the gala as a strategic milestone for Dubai’s cultural landscape: “We bring the world’s greatest artists to the region to elevate its cultural infrastructure and set new standards of excellence. Tonight’s response proved just how deeply audiences value world-class events. Their energy and engagement reaffirm that we are shaping the kind of cultural future people want.” The evening also marked an exciting prelude to what comes next. On 10 and 11 January, the Uzbekistan Culture and Arts Development Foundation will present a monumental production of Handel’s Tamerlano — its first staging in Dubai. Under the visionary direction of Italian maestro Stefano Poda, the opera promises a striking fusion of Baroque splendour and Central Asian mysticism. Featuring 160 performers, the National Symphony Orchestra of Uzbekistan, and an international cast, the production is set to become one of early 2026’s defining cultural events. As Dubai’s artistic calendar continues to expand, this Christmas Gala stands as a brilliant chapter — a night where classical music united a diverse audience in a shared sense of wonder, confirming once again that the city has firmly secured its place on the world’s cultural map.  Soprano Alisa Medvedeva and the National Symphony Orchestra of Uzbekistan. Read also The Legacy Cup In Dubai with Berin Art Festival and Polo Xperience, Goldene Note classical annual art contest in Vienna by Leona Konig, Moreza unveils cinematic trilogy-a journey through sound style and sensory magic   American actress Chase Infiniti is swiftly ascending as a prominent figure in cinema and a multifaceted artist. Celebrated for her magnetic screen presence, she garnered attention for her performance in the David E. Kelley series Presumed Innocent (2024) and in Paul Thomas Anderson’s film, One Battle After Another (2025). Her compelling performance has garnered her critical acclaim, including a 2025 Gotham Award nomination for Breakthrough Performer, nomination for Best Performance for Female Actor in a Motion PictureMusical or Comedy for the 2026 Golden Globes and nomination for the Best Actress for the 2026 Critic’s Choice Award among others.
With her upcoming role in The Testaments, a sequel to The Handmaid’s Tale, Chase’s trajectory mirrors the continuous evolution and timeless appeal of Louis Vuitton. Through her artistry, she brings to the House a rare balance of youthful dynamism and forward-looking vision. Chase Infiniti perfectly embodies Louis Vuitton’s powerful and timeless femininity, reflecting the shared values that unite her with the House. Louis Vuitton and Chase Infiniti are nurturing a growing relationship since 2024, marked by Chase’s attendance at the last two Women’s runway shows — the Fall-Winter 2025 and Spring-Summer 2026 collections by Nicolas Ghesquière, Artistic Director of Women's Collections, the latter presented at the Musée du Louvre last September. Additionally, at the world premiere of One Battle After Another movie, she wore a customed Louis Vuitton champagne satin hand-embroidered gown inspired by an archive from 1860. Her bond with the House continued to flourish more recently at the 5th Annual Academy Gala in Los Angeles, wearing a garment-dyed green silk taffeta bustier gown with overstitched pleats. “I have watched Chase’s debut with genuine delight, I find her totally captivating in the roles she plays. Beyond her remarkable talent, she radiates an authenticity that is truly unforgettable” says Nicolas Ghesquière, Artistic Director of Women's Collections. Louis Vuitton looks forward to embarking on this collaborative adventure ahead with Chase Infiniti, whose radiant energy aligns perfectly with the House’s pursuit of excellence. |
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