Collectors Agenda

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Collectors Agenda

Collectors Agenda is a digital art platform, a printed magazine that runs by the title The Collectors Chronicle, and a project space downtown Vienna, Austria.

Collectors Agenda is a cross-medial art platform and the publisher of the printed journal The Collectors Chronicle that is available for free at major art fairs and other events of the cultural scene. Very much like a perpetual calendar, our editorial contains timeless and insightful stories of our meetings with much-discussed artists and other actors of the art world. Our reader base is composed

of the entire spectrum of the art world, including artists, art critics, gallery and museum professionals, journalists, stablished and aspiring collectors, and art enthusiasts from the creative industries. We bring a fresh approach to the landscape of art journalism by avoiding the typical ‘art speak’ in our copy and thus help broaden the appeal of art discussions, beyond the inner circles of the art scene, reaching out to a new generation of future collectors. Subscribers to our newsletter are informed when we publish new stories or release new limited editions and work series in collaboration with international artists. Our artist collaborations – exclusive editions in low numbers and limited work series – are exhibited in our project space downtown Vienna, typically as solo shows. You also find us at international art fairs such as Art Cologne or viennacontemporary.

02/09/2026

VENICE—𝗧𝗵𝗶𝗿𝗱 𝗣𝗲𝗿𝘀𝗼𝗻 by Lorna SIMPSON is at@palazzo_grassi, and can be seen UNTIL 22 NOV.

Curated by Emma Lavigne in dialogue with the artist, this is the most extensive European overview to date of Simpson's painting from the past decade—around fifty works spanning painting, collage, video and sculpture, staged across the brick halls of Punta della Dogana. Dense compositions traversed by enigmatic figures evoke uprisings and repression, while a series of nocturnal blue paintings, reconstructed from Arctic expedition archives, turns ice, water and dust into metaphors of transformation and erasure. The exhibition builds on "Source Notes," first shown at the Metropolitan Museum of Art in 2025.

01/09/2026

BARCELONA—𝗦𝘄𝗮𝗯 𝗕𝗮𝗿𝗰𝗲𝗹𝗼𝗻𝗮 is an independent art fair and a space of encounter for emerging artists and galleries with an experimental and public vocation, celebrating its 18th edition at Fira Montjuïc.

Since its inception in 2006, it has evolved into a platform for dialogue, discovery, and exchange, bringing new artistic proposals from around the world to Barcelona. With an alternative program and a focus on cultural sustainability, Swab amplifies emerging voices and redefines the dynamics of the art ecosystem, establishing itself as a key reference in both the local and international contemporary art scenes.

Applications now open. Access the link in the bio of

31/08/2026

BOSTON—𝗩𝗶𝗲𝘄 𝗠𝗮𝘀𝘁𝗲𝗿 by Derrick ADAMS is at , and can be seen UNTIL 7 SEP.

Spanning twenty years and over 100 works—including pieces never before shown from the artist's personal archive—this is Adams's first mid-career survey, tracing his multidisciplinary practice across painting, collage, sculpture, and video. Titled after the toy redesigned by Black inventor Charles Harrison in 1958, the show captures the Black gaze through scenes of rest, play, and self-care. The exhibition also marks the ICA's first-ever facade commission, a run of color blocks across the museum's front.

27/08/2026

VIENNA—𝗛𝗶𝗿𝘀𝗰𝗵 𝗜 𝗦𝗮𝗴𝗮𝗱𝗶𝗻 is at , OPENING ON 11 SEP.

For the first time, Sophie HIRSCH () and Maruša SAGADIN () enter into a joint dialogue that engages with the body as a form-giving principle—sculpture as something corporeal, negotiating strength and vulnerability as much as support and care. Hirsch works with silicone, metal, thera-bands, fascia balls and orthopaedic cushions to hold the robust within the fragile; Sagadin draws on modern architecture and pop culture to build spatial objects that measure themselves against the body of the viewer. Both editions begin from a single point of origin that shifts from piece to piece.

Text by
Portrait Sophie Hirsch: .photo
Protrait Maruša Sagadin: Aleksandra Vajd

26/08/2026

Collector Story: Gil Bronner 🤩

A Düsseldorf collector since the 1990s with over 2,000 works to his name, Gil Bronner is the founder of Sammlung Philara, which celebrates its tenth anniversary in 2026 — a public exhibition space for international contemporary art housed in a former glassworks in Düsseldorf. In the interview, he talks about buying at auction over art fairs, why he avoids opening nights, and why he calls social media „the death of many things.“

»Art has always been the most refined form of showing off.«

📌 Read the full interview on our website

This Collector Story was produced in collaboration with Sammlung Philara

Text: Alexandra Markl
Photos: Sabrina Weniger

25/08/2026

NEW YORK—𝗧𝗵𝗲 𝗣𝗹𝗲𝗮𝘀𝘂𝗿𝗲 𝗣𝗿𝗶𝗻𝗰𝗶𝗽𝗹𝗲 by Precious OKOYOMON is at MoMA PS1, and can be seen UNTIL 2028.

A 25-foot concrete teddy bear—heart-shaped nose, rosy cheeks, rounded ears—anchors Okoyomon’s largest outdoor installation to date, and the first work in MoMA PS1’s new Courtyard Commission series. Visitors climb a staircase built into the sculpture and exit through its mouth via a slide, guided by glowing light and recordings of Okoyomon reading their own poetry. Around it, an ever-changing garden of some 50 trees and over 1,500 perennials and annuals brings native and invasive, cultivated and wild species into the same bed.

20/08/2026

QUERÉTARO—𝗧𝗛𝗥𝗘𝗡𝗜 by Gabriel O’SHEA is at Museo de la Ciudad, and can be seen UNTIL 23 AUG.

Born in Metepec, Mexico, in 1998, O’Shea takes the exhibition’s title from Stravinsky’s „Threni,“ his musical setting of the Lamentations of Jeremiah, approaching lament not as an expression of grief but as a condition for examining absence, spiritual erosion, and the persistence of the sacred. Across painting, sculpture, and installation—working in concrete, wax, resin, ash, metal, and linen alongside eighteenth- and nineteenth-century religious paintings—he stages a dialogue between the historical architecture of the former Convent of the Capuchinas and contemporary forms of material and spiritual ruin, considering what happens to devotional objects once the systems of belief that sustained them begin to weaken. Among the works on view is „CELIA“ (2026), an installation of more than sixty resin-cast crosses drawn from his grandmother’s personal collection, suspended between relic, archive, and material residue. Continuing a sequence of musically derived titles begun with „Preludio“ and „Obertura,“ „Threni“ does not attempt to restore what has been lost — it dwells within its remains.

Gabriel O’Shea, view of the exhibition „Threni“, Museo de la Ciudad de Querétaro, 2026
Text: Fernando Castro Flórez
Courtesy of the artist and Museo de la Ciudad de Querétaro

19/08/2026

ST. GALLEN—𝗢𝗰𝘁𝗼𝗴𝗼𝗻𝗲 by Chalisée NAAMANI is at Kunst Halle Sankt Gallen, and can be seen UNTIL 13 SEP.

Naamani, born in 1995 in Paris to French and Iranian parents and a graduate of the École des Beaux-Arts de Paris, works at the border of body and textile, hand-sewing and embroidering appropriated, reused, and reproduced materials into what she calls „vêtements-images“ — image-garments freed from any wearable function and recast as sculpture. Her assemblages draw on a wide network of references, from the Woman, Life, Freedom movement in Iran and France’s Yellow Vests movement to ornamental textile traditions, religious iconography, corporate branding, and her own family archives, condensing the symbolic and political charge carried by clothing. „Octogone,“ her first solo exhibition in Switzerland, brings together recent textile works, sculptures, and a site-specific installation, developed in cooperation with Palais de Tokyo, Paris, and Kunsthalle Wien.

Chalisée Naamani, Khorshid Khanoom, 2025.Photo: Kunst Halle Sankt Gallen, E. Sommer.Courtesy: the artist and Ciaccia Levi, Paris/Turin.

18/08/2026

VIENNA—𝗧𝗵𝗲 𝗚𝗿𝗲𝗮𝘁 𝗥𝗼𝗼𝗺 by Katherine HUBBARD is at Vienna Secession, and can be seen UNTIL 30 AUG.

The Great Room marks a significant shift in Hubbard’s practice, as her identities as artist and daughter become fundamentally entangled. Having largely avoided photographing people in her work, she turns here towards the most personal of subjects. Yet her longstanding critical engagement with representation and the power structures embedded in photography remains dispositive. In many of the images, Hubbard includes herself – often with tripod and camera – insisting on the presence of the apparatus and her own positionality. This gesture resists the fiction of an invisible observer. It renders transparent the act of image-making, but also reads as an ethical act: a refusal to leave her mother alone within the frame. As the artist explains in her interview with Bettina Spörr in the accompanying publication:

“I am quite protective of my mom. I never wanted someone to have the experience of looking at an image of my mom and mistakenly positioning themself in my place simply because they are seeing her from a place where I once stood with my camera. I was intuitively positioning myself so I was visible within the photographs via the mirrors that were hung in the house.”

Katherine Hubbard, The Great Room, installation view, Secession 2026. Photo: Iris Ranzinger

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