On Movement, Instability and Perception in the Work of Fatmir Beržanin Fatmir Beržanin’s practice is shaped by a persistent attention to what usually passes unnoticed: air moving around a body, water losing stability, wind pressing against matter, motion leaving a trace. His works do not present these elements as scientific illustrations, nor do they use scientific language as decoration. Instead, Beržanin approaches physics as something lived. Natural laws, in his work, are

The End of the World does not appear as a spectacle, prophecy, or narrative climax in Emiliano Mondragón’s paintings. Instead, it is treated as an already assumed condition: the point at which the human figure can no longer be understood as a cohesive, self contained entity. Neither catastrophe nor future collapse are depicted. Mondragón begins from a quieter and more unsettling premise, that the end is not an event to be represented but a structural shift already embedded in

Nonhuman systems have long conditioned how we see. What steadies us by the sea is not meaning but near-repetition—returns that are almost...