Flood-management infrastructure among projects from the School of Visual Arts - Dezeen

the american artist digs into musée d’orsay’s archives to uncover the conflicts, contradictions, and uncomfortable truths of the past. Iñaki Laguardia October 19, 2026 6 min prefer designboom on googleJENNY HOLZER ILLUMINATES MUSÉE D’ORSAY WITH WORDS FROM THE PASTThe walls of Paris’ Musée d’Orsay have plenty to say, and Jenny Holzer is giving them a voice. For J’ai Vu (I Saw), opening October 20, 2026, the American artist transforms the former railway station into a vast canvas of illuminated words, moving texts, and engraved stone sculptures. Developed in collaboration with the museum, the exhibition draws on writings from the period represented in its collections, bringing together artistic correspondence, political commentary, and historical accounts. Rather than simply revisiting the 19th century, Holzer lets its voices confront the present, proving that some conversations are far from over. The intervention begins outside, where the museum’s Seine-facing facade becomes the setting for ÉCLAIRÉ, a series of monumental light projections presented from October 18 to 22, between 7 pm and 11 pm.

from abandoned factories in ghana to his major exhibition in paris, the artist uses repair to rethink how we relate to history, labor, and one another, arguing that what we inherit can become a resource for building something new. thomai tsimpou October 19, 2026 11 min prefer designboom on googleIbrahim Mahama brings Ghanaian industrial histories to paris Ibrahim Mahama has spent years collecting, dismantling, and rebuilding things that could be considered beyond repair. Old trains, airplanes, factory structures, wooden stools, and industrial materials shape a practice that looks at what societies leave behind and what can be done with it. His work is rooted in northern Ghana, where the history of colonial exploitation continues to shape the region, but his questions reach far beyond it: who gets to shape the future, what do we do with the past, and how can art create something useful for the people around it? These questions come together in The Harvest Season, Mahama’s major exhibition at Fondation Cartier in Paris, on view from October 22nd, 2026, to February 28th, 2027.

MODULAR LOGO SYSTEM UNIFIES MAXON’S CREATIVE SOFTWARE layoutMotion designer Casey Gu creates the Maxon One Brand Expression Film to introduce a unified visual identity across Maxon’s suite of creative tools. The project translates a modular logo system into motion, establishing a visual connection between products spanning 2D and 3D design, motion graphics, and visual effects. Rather than treating each product as an isolated identity, the film explores how distinct visual characteristics can coexist within a shared brand framework. Led by Leo Hageman, Director of Brand & Creative, the new identity brings together Maxon One, Cinema 4D, Red Giant, ZBrush, Redshift, Universe, Capsules, Cinebench, Cineware, and Moves through a consistent geometric language. Its modular, honeycomb-inspired forms provide the structural basis for this relationship, creating continuity across a diverse range of tools while maintaining room for individual product identities.all images ©Casey Gumotion design balances abstract geometry with brand motifsFor motion designer Casey Gu, the central challenge was translating the modular visual system into motion while balancing abstraction with product recognition.

rethinking the future of hospitality designFrom November 17 to 19, 2026, IFEMA Madrid transforms into a hub of optimistic innovation as interihotel MAD26 returns for its sixteenth edition. Organized by the AMBIT Living Spaces Cluster, the event brings together around 350 exhibiting brands and over 200 international speakers. Under the theme of ‘Creative Rebellion,’ this year’s program directly challenges established hospitality conventions, using radical creativity and material experimentation to spark fresh paradigms for hotels and restaurants worldwide.interihotel MAD26 returns for its sixteenth edition | all images courtesy of interihotelthe anatomy of a rebellionUniting craftsmanship and industry insights, interihotel MAD26 structures its narrative across three dedicated thematic days. Day one, The Inside Rebellion, dives into design identity and human emotion, headlined by Stefan Sagmeister’s presentation No Doom, no Gloom, which blends data visualization with design to champion optimism, alongside discussions with Nini Andrade Silva and Astet Studio.

More than a flowering of the arts at the dawn of the 20th century, the Harlem Renaissance marked the breakthrough moment when Black Americans asserted their creative control, defining a culture that had been purpose-built to exclude them. The imprints were all over the Jazz Age – on bookshelves and radio, in flapper dresses and cloche hats, in Hubert Julian’s daring flights and the fractious debates between Marcus Garvey and WEB Du Bois. Like the David committee of the Italian Renaissance or the American Revolution’s Continental Congress, the Harlem Renaissance is one of those moments that makes you wonder: what was it really like? The Dark Tower salons? Those Cotton Club nights? The rent parties with all those New Negroes – a heady brew of southern émigrés, Caribbean vanguards and New York lifers – holding forth and hootin’ and hollerin’, high on the fact that they had found one another? Could they appreciate the significance of the moment as they were making it?

‘Does this whole Edward Cullen act actually work?” A distinct Twilight feeling is in the air in this initially enlivening vampire flick, with willowy twentysomething mortal Gemma (Nell Verlaque) caught in the middle of a pointy-toothed tug of war between tender Italian hunk Sebastian (Alvise Rigo) and her bad boy ex Eric (Kieron Moore). When she strolls with her friends into a hot vampire carnival, the ab count nearly outdoes the haemoglobin one. But this good-looking whirligig winds up disappointingly disjointed. Gemma is still regrouping after her father’s suicide, an unspecified amount of time earlier. So her mum is relieved when she takes a night off from grieving by checking out the local fair with pals Ryan (Corrado Martini) and Olivia (Pauline Chávez). Absent for many years, creepy Eric has apparently joined the circus, featuring as the ostentatiously self-harming Man Who Feels No Pain. But when Sebastian invites Gemma into the carnival’s orgiastic inner sanctum, she learns they are a coven of bloodsuckers who, under leader Toussaint (Jason Isaac), have a strict no-killing code of conduct. Or, in the case of potential initiates like Gemma, obtaining consent.