Open the art world.

AI isn’t the problem. It’s showing us how predictable we are.

AI isn’t just learning how to make images. It’s learning how easily it can imitate what we call style.

Helen Beard: desire changes perspective

Saturated colours, tightly framed bodies, and images suspended between figuration and abstraction. Helen Beard uses painting to place female desire at the centre of the image, turning eroticism into a question of perspective, freedom, and representation.

David Hockney: learning to see the world all over again

From Californian swimming pools to photographic collages, portraits and iPad drawings, David Hockney moved through almost seven decades of art without ever stopping his experimentation. Behind every new tool, however, remained the same question: how can we see what is in front of us more clearly?

Oh de Laval: desire before judgement

Distorted bodies, Venetian pink, sex, humour, and sudden eruptions of violence. Oh de Laval creates apparently playful scenes to explore desire, morality, and human behaviour. But who really decides where pleasure ends and transgression begins?

Hai-Hsin Huang: absurdity is already all around us

Disastrous weddings, art fairs, gyms, museums, unfamiliar dogs, and holiday crowds. Hai-Hsin Huang observes everyday life and transforms it into a slightly unsettling comedy, where anxiety, conformity, and vulnerability emerge beneath bright colours.

Gori Mora: how close are we when a screen stands between us?

Bodies, mirrors, private rooms, and surfaces that reflect the viewer. Gori Mora uses painting to explore desire, queer identity, and relationships in a world where meeting has become easier, but genuine closeness has not necessarily followed.

Ella Bril: painting when your time is no longer yours alone

Motherhood changed the subjects of Ella Bril’s paintings, but more importantly the conditions under which they are made. Motherhood: Luminous Origins begins with bodies, sleepless nights, and acts of care to open a broader question: what happens to the figure of the artist when making art can no longer be separated from the rest of life?

Damien Hirst: the art that refused to be ignored

A shark suspended in formaldehyde, divided animals, pills, butterflies, and millions of pounds moving directly from the studio to the auction house. Damien Hirst turned death, beauty, the market, and spectacle into parts of the same language. But how much of his importance lies in the artworks, and how much in the system he built around them?

GaHee Park: what happens when no one is looking

Solitary women, cocktails, fish, windows, lovers, and presences that seem to emerge from dreams. GaHee Park creates paintings suspended between desire and unease, where private life is never completely protected from the gaze.

Geoffroy Pithon: what happens when painting leaves the frame?

Paper, pigments, screenprinting, fluorescent colours, and monumental installations. Geoffroy Pithon moves between painting and graphic design, creating images designed not only to be seen, but to become part of the space around them.

AI isn’t the problem. It’s showing us how predictable we are.

AI isn’t just learning how to make images. It’s learning how easily it can imitate what we call style.

Art is no longer competing only with art

An artwork now has to survive in the same world as fashion campaigns, music videos, memes, cinema, design and images generated in seconds.

Why does everyone want to look like they don’t care?

We turned not caring into a performance. It takes an extraordinary amount of effort.

We stopped buying objects. We buy signals.

A bag, a chair, a painting, a hotel. The real product is often what they say about us.

The world is full of codes. We just don’t call them that.

Clothes, restaurants, neighbourhoods, words, artworks, hotels: we spend all day decoding signals and call it taste.

Instagram killed bad taste. And that might be a problem.

We’ve never been this good at having good taste. Unfortunately, we’re all getting good at it in exactly the same way.

If a child stops and stares, it works.

First comes the look. Everything else comes later.

Everyone wants to be iconic too soon

Before we have anything to say, we already want to be recognisable.

The problem with good taste is that everyone has it now

When everyone learns the same codes, taste stops distinguishing people and starts making them look alike.

Fried is bad for you. That’s why you want more.

This is not a wellness column. It’s art, culture, money, taste and bad ideas served hot enough to be irresistible.

OUR EXHIBITION - IMAGO 2026 - MUST MUSEO

Talk: how to read a contemporary artwork

VISIONS in Venice: two ways of seeing through painting and photography

Opening: Elena Rossi