From their early performances in Copenhagen’s queer art scene of the 1990s to the large-scale installation for Prada Mode London 2025, Elmgreen & Dragset continue to question how viewers engage with art in public

Camaiore, Lucca. Villa La Medusa reflects its dual etymology. The root is ancient Greek: μέδω, meaning to care for, to protect, but also to bewitch. Villa La Medusa protects its own enchantment

Spectral Display becomes an ode to the unapologetic rawness of being seen – or unseen – through the creative act – photography Guy Bolongaro, styling Lottie Collins, for Lampoon 30

Pirici does not shy away from size, even comparing the soft hills of her sand dune formation to a large soft animal – Attune, the exhibition co-commissioned by Hamburger Bahnhof and Audemars Piguet Contemporary

No fences, glass, or don’t touch signs. The work is accessible. It’s vulnerable. You can break it, push it, or even steal it if you want

Frank Lloyd Wright claimed that Luciano Baldessari was the only Italian architect whose work he knew – matter and spirit, monumental gestures and the fluidity of theatre

In dinamiche sociali multiple e frammentarie, le declinazioni della Fendi Baguette e della Peekaboo sono apertura alla pluralità sociale e all’adattamento contemporaneo

The best results come from using tools and materials they were not originally intended for – Oslo based experimental designer Sigve Knutson share his creative process and personal vision on rawness

I asked my family how much money they needed so that they wouldn’t marry me off: 11,000 euros – I sold some of my artwork and even my hair. I gave them the money, and my father bought a Mercedes

When Dario Cecchini was a child, he wanted to become a vet – the death of his father changed his plans and he went from hating his job to becoming a celebrity butcher