Alberto Di Fabio: Vortices
Installation view
Alberto Di Fabio: Vortices
Installation view
Alberto Di Fabio: Vortices
Installation view
Alberto Di Fabio: Vortices
Installation view
Alberto Di Fabio: Vortices
Installation view
Alberto Di Fabio
Untitled, 2006
Acrylic on canvas, 78-11/16 × 68 ⅞ inches (200 × 175cm)
Alberto Di Fabio
Untitled, 2007
Acrylic on canvas, 78-11/16 × 69 5/16 inches (200 × 176cm)
Alberto Di Fabio
Untitled, 2006
Acrylic on canvas, 78-11/16 × 68 ⅞ inches (200 × 175cm)
Gagosian Gallery is pleased to announce an exhibition of new paintings and works on paper by Alberto Di Fabio.
Di Fabio's work merges the worlds of art and science with themes of biology, ecology and nature. This particular series of works explores structures of the human body and brain. Large-scale paintings pulsate with colourful organic shapes. The images are microscopic in their focus, implying biological diagrams, cellular structures, flora, eco systems, and pharmacological research. Di Fabio creates abstract paintings by overlapping layers of images abstracted from scientific and medical references and his own reflections, enlarging the particulars and adding details. His works on paper continue his dedication to organic form, subject, and process.
Vortices has a dual meaning here, referring both to the spinning, turbulent flow that swirls strongly around a center, and to the early twentieth century British art group – which included Wyndham Lewis, Ezra Pound, James Joyce and T.S. Eliot, as well as the French sculptor Gaudier-Brzeska— who set out to liberate Britain from the legacy of the past and obliterate all traces of the Victorian era by placing the machine age at the centre of their work. Di Fabio observes how the human mind's capacity for information seems amplified due to the increasing means of communications that saturate our daily lives, and he invites us to reconsider the body in its most essential functions - posing questions about science and aesthetic, life and art.
Alberto Di Fabio was born in Avezzano in 1966 and studied at the Academia delle Belle Arti, Rome. He has exhibited internationally, including the Beijing International Art Biennale (2005), Insomnia, Galleria Pack, Milan (2007) and Umberto Di Marino Arte Contemporanea, Napoli, Italy (2007). DiFabio lives and works in Rome.
A fully illustrated catalogue, with an essay by freelance art critic and writer, Alan Jones, will accompany this exhibition.
The Summer 2026 issue of Gagosian Quarterly is now available, featuring Ellen Gallagher’s Fast-Fish and Loose-Fish (2026) on the cover.
In this video, Jenny Saville sits down inside her first major exhibition in Venice to discuss how the great Venetian artists of the past and the city’s heritage influence her work. The show brings together more than thirty canvases and works on paper from the 1990s to the present, tracing the development of her practice, which is deeply rooted in the history of painting.
Francis Bacon lived and worked in Paris for a decade starting in the mid-1970s. The city and the art he encountered there provided a profound backdrop for his austere late style, which often brings together smooth, colorful backgrounds, spare architectural signifiers, and sculptural human forms. Here, three striking paintings from that period are considered by Sebastian Smee.
An exhibition at Gagosian, Hong Kong, brings together three of James Turrell’s Glasswork pieces along with site plans, photographs, and models of his Skyspaces and Roden Crater. Here, Alice Godwin explores the history of the Glassworks and their relationship to the artist’s wider practice.
Janne Sirén considers Anselm Kiefer’s new paintings, the subject of an exhibition at Gagosian, New York, entitled Seal My Ears Shut and I Shall Hear You Still.
On April 16, the Institute of Contemporary Art, Boston, opened the first midcareer survey of Derrick Adams’s multidisciplinary practice. Covering over twenty years of work, the exhibition, titled View Master, brings together the artist’s painting, sculpture, collage, performance, and video, as well as a vibrant new commission created for the museum’s façade. Ahead of the opening, Adams met with Tessa Bachi Haas, cocurator of the survey, to discuss his formative experiences with television, the impact of his work in arts education on his practice, and the importance of taking a more complex, more joyful, and more expansive approach to Black American life and culture.
Adam D. Weinberg has been working with Giuseppe Penone on an exhibition of the artist’s new sculptures, The Reflection of Bronze, that opens at Gagosian, New York, on April 22. The works explore the character and possibilities of bronze. Here, Weinberg considers Penone’s enduring engagement with the alloy and addresses the conceptual underpinnings of the exhibition’s three-room structure.
On March 28, a major exhibition of Jenny Saville’s work opened at Ca’ Pesaro–Galleria Internazionale d’Arte Moderna in Venice, bringing together nearly thirty paintings from the 1990s to the present. The exhibition is curated by Elisabetta Barisoni, head of the museums division at Venice’s Ca’ Pesaro, Museo Fortuny, and head of MUVE in Mestre. Saville’s monumental canvases are set in dialogue with the great Venetian artists of the past, creating a unique encounter between contemporary painting and the city’s artistic heritage. Here, the artist speaks with Stefania Ventra, professor with Ca’ Foscari University of Venice, about her early trips to Venice, the radicality of Titian’s painting, and depicting emotional truth.
Jeff Koons tells Alison McDonald about his appreciation for the pioneering artist and thinker Marcel Duchamp.
From their respective fields, three international cultural figures—artist and designer Ronan Bouroullec, fashion visionary Michèle Lamy, and chef and restaurateur Enrique Olvera—reflect on Donald Judd’s work in furniture, the subject of recent exhibitions in South Korea and Japan.
Laura Bruni writes about a major exhibition celebrating the work of the British sculptor Henry Moore at the Royal Botanic Gardens, Kew, London.
The most recent edition of Picture Books, an imprint organized by Emma Cline and Gagosian, pairs Mary Gaitskill’s novella STAUF: A Tragedy with Jill Mulleady’s painting The Shift. In celebration of this forthcoming publication, Gaitskill and Mulleady discuss the myth of Faust, good and evil in the digital age, and the channeling of raw matter into art.
