Amir H. Fallah @ Art Basel Hong Kong March 21 - 25

Austyn Taylor, open call winning artist and her many characters spreading optimism across the world one gallery at a time: "My work is vivid, colorful, innocent, courageous and absurd. I make characters in hand sculpted clay based on animals and people I have encountered. The work acts as a signal- "everything will be ok" like a safe place to wonder about how we even exist as humans in the first place." Taylor is internationally recognized for her hand-built ceramic sculptures—playful yet deeply philosophical characters inspired by animals, human behavior, and the shared experiences that connect people across cultures. Influenced by ancient clay traditions from Mesopotamia, Japan, Europe, Africa, and Central America, she sees clay as one of humanity's most universal artistic languages: fragile yet enduring, humble yet capable of carrying profound meaning across generations.

In London’s evolving contemporary art landscape, a new generation of collectors is reshaping how galleries are conceived and run. Louis Jacquier, co-founder of Tiderip, represents this shift, where collecting is no longer a private pursuit but an active, collaborative force. Rooted in close relationships with artists and a long-term commitment to their development, Jacquier’s approach has extended into the creation of a gallery that privileges dialogue, experimentation, and emotional depth. At the centre of this approach is a philosophy he often summarises as: “I collect artists rather than artworks.”

The Athens Biennale has announced a major restructuring of its governance alongside the appointment of Thiago de Paula Souza as curator of its 8th edition in 2027. The new model introduces a formalised structure of trustees, advisors, and curatorial leadership, consolidating the Biennale within a tightly interlinked network of cultural patrons, collectors, and institutional stakeholders. While presented as an “evolving ecosystem,” the shift reflects a broader transformation in contemporary art governance, where cultural legitimacy is increasingly shaped through structures aligned with private capital and strategic institutional management. Against this backdrop, de Paula Souza’s curatorial practice—rooted in institutional critique and transnational experimentation—introduces a productive tension between radical discourse and formalised cultural power.