Alfa Gallery

10/20/2026

WHEN PAINTING EXPANDS BEYOND THE CANVAS.

Katharina Grosse redefines painting as an encounter between color, architecture, and space, transforming entire environments into immersive visual experiences.

In Black Bed, presented at MUNCH in Oslo, the artist introduces black paint into her practice for the first time. The exhibition centers on a new installation that revisits Das Bett (2004), exploring the expressive possibilities of color and the shifting relationship between painting and its surroundings.

Grosse’s practice challenges the conventional limits of the medium, positioning painting as an expansive, spatial experience.

Katharina Grosse: Black Bed is on view at MUNCH until January 3, 2027.

Discover more artists and exhibitions shaping contemporary artistic discourse through .gallery.

© Katharina Grosse

10/20/2026

When art breaks free from the object.

What if sculpture could move, and light could become part of the performance?

In Screen as Performance IV, Guillaume Linard Osorio and choreographer Etay Axelroad bring sculpture, light, and contemporary dance into an unexpected dialogue. Translucent structures and fluid movement transform space into a living composition, challenging the boundaries between visual art and performance.

Art is no longer just something we see.
It becomes something we experience.

© Images CARVALHO, New York.

10/18/2026

Nicolas Vionnet
B. 1976, Swiss.
Lives and works in Zurich, Switzerland

Nicolas Vionnet’s primary medium is acrylic on canvas. His chiefly large-scale works play with space and expanse. Although almost always realistic, his paintings have more in common with abstract images than real landscapes. He paints disruptive grey strips across his clouds and allows colored surfaces to drip down the canvas in accordance with the laws of gravity.

Vionnet is fascinated by such irritations: interventions that approach and create a non-hierarchical dialogue with the environment. This discussion opens up a field of tension, which allows the viewer an intensive glimpse of both these phenomena.

Vionnet uses the same approach and the same strategy for his installations and objects. Irritation and integration. A fundamental confrontation with the history of a place leads to a subtle and more precise intervention of the object. Take for example his man-made grass island at the Weimarhallen Park (Weimar, GER), which ironically intensified the park’s own artificiality. In ‘Close the Gap’ (Leipzig, GER) he bridged the space between an old-town row of houses with a printed canvas image of the now much frowned upon prefabricated building. A reference to changes in time and aesthetics.

Nicolas Vionnet lives and works in the Zurich metropolitan area. He has finished his studies at the Academy of Art and Design in Basel. In 2009 he graduated from the Bauhaus-University Weimar with a Master’s degree in Public Art and New Artistic Strategies.

10/17/2026

Chris Vingoe creates process-driven paintings that explore the intersection between precision, materiality, and perception. Working meticulously by hand with layers of acrylic paint on an intimate scale, Vingoe transforms the mesmerizing qualities of automated digital techniques into a slower, meditative process reminiscent of Eastern applied arts. Interventions made to the painting’s support act as a “rudder”, gently guiding precisely sequenced tiers of color and structure. In the saturated hues of the Property Series, an evolving dialogue between pigment, light, and shadow emerges, revealing subtle shifts in depth and surface. The Serif Series explores the physical relationship between paint and plane, where pigment is compressed and embedded within two-dimensional fields, challenging the boundaries between painting and object.

In the Shift (of Surface and Support) series, Vingoe further investigates the relationship between image, material, and structure through cast impressions taken from canvas. Composed solely of mica pigments suspended in clear acrylic paint, these shimmering works become echoes of the original support framework, capturing the physical traces of the creative process. Vingoe’s practice moves fluidly between painting and sculpture, drawing inspiration from both human-made systems and natural phenomena. Through a meticulous balance of control and transformation, the artist examines how structure, color, and material can generate new forms of visual experience.

10/17/2026

“Don’t make art as a career.” — Dan Graham

In a candid conversation with Louisiana Channel, the influential artist challenges the very idea of an artistic career: the risk of becoming what you once set out to question.

Working across video, photography, performance, writing, installation, and architecture, Graham redefined the boundaries between art, space, and the viewer. His iconic glass and mirrored pavilions remain among his most recognized works.

An essential perspective on artistic freedom, experimentation, and the courage to resist convention.

Explore more at Alfa Gallery.

Interview: Louisiana Channel, 2016
© Dan Graham / Louisiana Channel

10/16/2026

“Your greatest wealth isn’t money.
It’s your time and attention.”

British artist Ryan Gander reminds us that what we choose to notice and what we give our time to may be our most valuable investment.

In a world competing for your attention, choose wisely.

© Ryan Gander | Interview: Louisiana Channel

10/16/2026

Ryan Gander’s multidisciplinary practice challenges the boundaries of art, language, and knowledge. Moving between sculpture, film, installation, writing, and performance, the artist constructs intricate conceptual frameworks in which the familiar intersects with the unexpected.

Through subtle references, fragmented narratives, and concealed connections, Gander invites viewers to navigate a world of ideas where meaning is never entirely fixed. Each work becomes an open-ended proposition, encouraging personal interpretation and revealing the complexity of how we perceive and understand the world around us.

At the intersection of the everyday and the esoteric, Gander transforms observation into an active intellectual experience.

Explore Ryan Gander’s work at Alfa Gallery.

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© Ryan Gander. All rights reserved.

10/14/2026

In Adia Wahid’s work, pattern becomes a living system structures that shift, overlap, and generate new visual logics. Drawing is at the core of her process, using custom-made tools that translate gesture into evolving forms across the canvas.Her paintings exist between order and deviation, where tradition and experimentation quietly converge.

10/13/2026

10/13/2026

Evelyn Snoek

B. The Hague, The Netherlands

Lives and works in The Hague, The Netherlands.

Painting over, cutting open, building up: a process made tangible through concrete actions. Evelyn Snoek began with etching and large oil paintings, built up in layers. Her first series, Surface, consisted mostly of small works in grey, colour and black and white, made by painting over and covering: only the surface stayed visible, and everything beneath it was hidden. To open the work up again, she began cutting into that surface. The surface became a tipping point. Older oil paintings were cut into strips, which she layered or wove into new works, each with a new, temporary surface. Cutting led to a breakthrough into free space, and once the paint was cut loose from its stretcher, work and paint became independent of their carrier. Paint itself became the main material. From there she began to build, quite literally: layer upon layer, varying in thickness and transparency, through repetition and a search for the right form. The same question runs through every step: what is a painting? Recently something from outside has entered the work, in the form of moulds taken from plastic packaging, such as food containers met in daily life. Their industrial shapes meet poured acrylic and hand-moulded paper pulp, matte against silk-smooth. Paint is poured, dried, cut and scraped back, then used again. When the mould is removed, only the shape remains. Finished works come out of this process, each one a stage in a development that continues. The works are saturated, glossy and richly coloured, and they draw the eye before anything is explained. They are neither purely painting nor sculpture, and they sit between black and white and everything in between. They want to be form, but they also want to be free.