Arndt Collection

Meanwhile in Milan: Alicja Kwade at MassimoDeCarlo

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Every object exists twice, wrote the physicist Arthur Stanley Eddington - solid and substantial on one side, and on the other, atoms and empty space, briefly agreeing to behave like a surface.

- former home, now exhibition space - exists in two registers at once: a private home and a public space, but with something suspended, as if it had never quite stopped being both.



📅 Until Friday 31 July, 2026

Meanwhile on Samos, the restoration of the former Public Olive Press of Marathokampos and its transformation into an artist residency is making great progress, allowing the residency program to commence in spring 2027.

Soon after acquiring the nearly two-hundred-year-old building in 2024, a careful restoration process - planned and supervised by Munich- and Samos-based architect Georg Thiersch - began. At the end of this adaptation process, the building will once again serve the village, this time as a place of dialogue where artists can live and work on the island. Located in the heart of Marathokampos, the residency will host one artist each year, providing time, space, and support for focused research and creation.

While preserving an important local landmark and contributing to the village’s revitalisation efforts, the project also reflects our long-standing commitment to supporting the next generation of artists and enriching the cultural life of the communities in which we work.

More updates soon as this exciting project continues to take shape.

Sally Gabori’s works show a radical freedom.

Mirdidingkingathi Juwarnda Sally Gabori (ca. 1924–2015) began painting only late in life, after growing up on Bentinck Island as part of the Kaiadilt people, largely untouched by European influence. Yet she brought something utterly uncompromised to the canvas: vast fields of colour that pulse with emotional authority, spatial intelligence and lived experience.

Her paintings are often described as abstraction, but they are in fact maps of memory, Country and ancestral knowledge. The chromatic power in her work — luminous pinks, saturated whites, deep blacks - feels fearless. There is no hesitation, no decorative intent, just conviction. The gestures are direct, almost elemental, and yet profoundly sophisticated in their compositional balance, rhythm and scale.

What I love about Gabori’s intuitive, gestural and vibrant paintings is that they prove that art is a universal, non-verbal and non-exclusive language. Her work speaks far beyond geography, ethnography or periods of time. It stands confidently alongside the great voices of modern and contemporary painting - while expanding the conversation beyond Western art history itself.

For me, Sally Gabori ranks among the most important painters of the late 20th and early 21st century. I strongly encourage collectors and institutions alike to take a closer look at her oeuvre.

This is work of cultural depth, art historical relevance and undeniable visual power. And importantly: compared to many Western modern and contemporary masters, her market remains remarkably accessible - if not still underrated.

Who would guess that these extraordinary paintings were created only fifteen years ago, in remote Australia, by an artist who had never seen the work of Joan Mitchell, Jackson Po***ck or Helen Frankenthaler?

Image Caption: With Sally Gabori‘s painting „Dibirdibi Country“, 2010. Synthetic polymer paint on canvas, 151 × 101 cm. Courtesy the Estate of Sally Gabori, Alcaston Gallery.