Galleria Benetti

06/03/2026

AS SEEN BELOW – THE DOME, ⁠
A SKYSPACE BY JAMES TURRELL⁠
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The monumental new art work outside ARoS Aarhus Art Museum’ main entrance now has a title. The partly underground Skyspace created by the groundbreaking artist James Turrell will be called: ⁠
⁠
‘As Seen Below’⁠
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The title marks the transistion from construction project to art installation, and we are thrilled.⁠
⁠
James Turrell explains that the piece is about shaping the very act of seeing: ⁠
“The architecture brings the sky close, so you realise that the act of perception itself is the work,” he says.⁠
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‘AS SEEN BELOW’ OPENS JUNE 19 2026

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More than architecture, ‘As Seen Below’ is an experience.

A circular opening frames the sky above, turning it into a living canvas that shifts with light, time, and atmosphere. From sunrise to dusk, the colours of the sky seem to change before your eyes—revealing how perception itself can be shaped by space and light.

Part sculpture, part architecture, part meditation on seeing, the Skyspace invites visitors to slow down and look upward—discovering that the sky we thought we knew can appear entirely new when viewed from below.

Sometimes the artwork is not what we look at, but how we learn to see

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04/03/2026

The work is beautifully executed — every detail reflects real care and precision. Jin Meyerson.

I pretty much make a living off of developing a viscosity of relations. On the palette the ratio of medium to pigment gages opacity, and in turn the amount of pressure and chosen brush defines the reality which every brushstroke is.
As a young artist both in school and the beginning of my career in NYC, I constantly kicked against the idea that painting was a limited expression experience. In fact the limits are the very thing that makes it human, temporal and profound. Like the evolution of our thoughts on consciousness, (we are no longer the originating source, much more of an antenna receiving some sort of cosmic continuum) I see each piece made as coming from a larger space than the small one I occupy. I know now that this was a driving force of my earliest forays into radical digital space. Even in 1997 I felt that the concept of a singular identity/ conscious/ location as author was absurd and outdated. I sampled whatever and whenever. Drawing meaning from randomization software and american football. Neither which I had made or had come up with.
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One of the last conversations I had with my father was about what he believed in the larger lens of end of life. We talked about what being Jewish meant to him and he mic-dropped with, “I believe in Religion, not God.”
I recently stumbled on a late interview of where he talked about the idolatry taboo of image making in the jewish faith, and how he sensed the on screen video call format was the realization of a spiritual image inevitability.
I’m working on my next solo project staying mainly off-line and on-canvas.
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In The Memory of Others
Oil on canvas
250 x 250cm
(In process)
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📹of me painting

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25/12/2025

Andy Warhol didn’t approach Christmas as a feeling.
He approached it as an image.

A season built from symbols already perfected for mass circulation: red, green, gold. Trees that look the same everywhere. Faces that return every year. Objects designed to be seen, recognized, and repeated without explanation.

Before Pop Art gave him a language, Warhol was already fluent in the holiday. In the 1950s, he drew Christmas cards for Tiffany & Co.—quiet, fragile works that suggest repetition can be tender, not hollow. The same image, revisited, could still mean something.

Christmas stayed with him, not loudly, but persistently. Raised among icons, rituals, and saints, Warhol carried the structure of belief into his work even as he stripped it of certainty. Angels, flowers, wreaths, Santa—appearing less as declarations, more as appearances. Present, but emotionally unresolved.

As media expanded, Christmas followed. In Interview, the holiday became a surface: polished, editorial, carefully staged. Festivity treated the same way Warhol treated fame—framed, printed, and slightly held at a distance.

At the Factory, Christmas didn’t interrupt production. It blended into it. Decorations arrived. A tree stood somewhere. The spectacle became routine, and routine became the point.

Works like Poinsettia or Santa Claus don’t celebrate or criticize. They hover. Between belief and branding. Between tradition and reproduction.

For Warhol, Christmas wasn’t outside culture.
It was proof of how culture works.

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25/12/2025

Andy Warhol didn’t approach Christmas as a feeling.
He approached it as an image.

A season built from symbols already perfected for mass circulation: red, green, gold. Trees that look the same everywhere. Faces that return every year. Objects designed to be seen, recognized, and repeated without explanation.

Before Pop Art gave him a language, Warhol was already fluent in the holiday. In the 1950s, he drew Christmas cards for Tiffany & Co.—quiet, fragile works that suggest repetition can be tender, not hollow. The same image, revisited, could still mean something.

Christmas stayed with him, not loudly, but persistently. Raised among icons, rituals, and saints, Warhol carried the structure of belief into his work even as he stripped it of certainty. Angels, flowers, wreaths, Santa—appearing less as declarations, more as appearances. Present, but emotionally unresolved.

As media expanded, Christmas followed. In Interview, the holiday became a surface: polished, editorial, carefully staged. Festivity treated the same way Warhol treated fame—framed, printed, and slightly held at a distance.

At the Factory, Christmas didn’t interrupt production. It blended into it. Decorations arrived. A tree stood somewhere. The spectacle became routine, and routine became the point.

Works like Poinsettia or Santa Claus don’t celebrate or criticize. They hover. Between belief and branding. Between tradition and reproduction.

For Warhol, Christmas wasn’t outside culture.
It was proof of how culture works.

08/11/2025

Takashi Murakami
Together with the Flower Parent and Child

FRP, urethane paint, stainless steel and wood
signed, titled, inscribed and dated

“TAKASHI 2021–2022 FRP 5/5” on the interior of the larger flower element

sculpture 77 1/2 x 48 1/2 in. (196.9 x 123.2 cm)
base 35 3/8 x 35 3/8 x 3 3/4 in. (89.9 x 89.9 x 9.5 cm)
Executed in 2021–2022.
This work is a unique variant from an edition of 5 plus 1 artist’s proof.

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POA

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21/10/2025

Louis Vuitton x Takashi Murakami: Artycapucines VII at Art Basel Paris

Louis Vuitton and acclaimed Japanese artist Takashi Murakami reunite for the seventh edition of the Artycapucines collection, unveiled at this year’s Art Basel Paris. The collaboration reimagines the Maison’s iconic Capucines bag through Murakami’s kaleidoscopic vision — a vibrant fusion of meticulous craftsmanship and playful surrealism.

Continuing Louis Vuitton’s ongoing dialogue with contemporary artists, the project transforms the Capucines into a sculptural canvas that bridges fine art and high fashion. Each limited-edition piece embodies Murakami’s unmistakable aesthetic — a joyful burst of color, animation, and cultural hybridity — reaffirming his role as one of the most influential crossover artists of his generation.

The Artycapucines VII collection stands as both a collectible artwork and a design statement, reflecting the deepening convergence between the art market and luxury maisons showcased at Art Basel Paris

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06/10/2025

Keith Haring x Bretz for living room set 1998

09/07/2025

Happy Birthday, David Hockney. 🎂

Still painting light,
still chasing time,
still reminding us that looking — truly looking —
is a kind of love.

Thank you for showing us that color has memory,
that lines can laugh,
and that life is always brighter in a bigger splash.

Here’s to more days of drawing in your slippers,
with an iPad in hand,
and the world at your window.

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08/07/2025

Stunning paintings by

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07/07/2025

06/07/2025

KAWS ONE “Running Chum” Drawing.
Ink on paper. 2017.
Sheet size 11” × 8.5” Inches.
Signed and dated verso.
Acquired directly from KAWS.
Framed size 25” x 22” museum framed with UV Plexi.

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30/06/2025

Tseng Kwong Chi x Andy Warhol: Behind the Frame

Tseng Kwong Chi takes us inside Andy Warhol’s private world through a quiet, carefully framed moment. Shot in Fred Hughes’s studio, these images capture Warhol standing beside his iconic Liz—a vibrant silkscreen portrait of Elizabeth Taylor that became one of his most recognized works.

Tseng’s photographs are minimal yet powerful. Warhol’s calm, almost distant presence contrasts with the bold energy of the Liz painting, creating a subtle visual dialogue between the artist and his own legend.

The studio, meticulously curated by Fred Hughes, feels perfectly staged—just like the carefully constructed world of Pop Art itself.

More than simple portraits, these images reflect Warhol’s lifelong exploration of fame, identity, and the fine line between appearance and reality.