JOHANNES SCOTT​

In the art installation PRELUDE at Marian Goodman Gallery in New York, the artist Álvaro Urbano conjures a spectral mise en scène of a 19th century landscaped area situated in the heart of Central Park.

The title Exile frames the vase as a subject in transit, a figure of displacement, no longer at home in its symbolic function. It is not a domestic ornament, but a mnemonic device—a placeholder for a lost origin.

On the group exhibition titled SUMMER READS, 2025 at Galerie Le Long in Chelsea, Coyne’s memorial dome can be read as a vessel of desire and loss, preserving the floral signifier while deferring its decay.

Modern art theory is shaped by a constellation of concepts that unsettle perception, reframe familiarity, and interrogate the conditions of meaning. Among these, the uncanny occupies a pivotal place—bridging psychoanalytic insight, linguistic mediation, and aesthetic estrangement.

Walter Ford probes the gaze of the symbolic lion, burdened by the weight of cultural signs stacked on its back since antiquity.

The series of porcelain sculptures appropriates the conventional ceramic form of 18th century rococo figurines.