kojo marfo’s AfroGenesis comes to art dubai

Running at London’s Saatchi Gallery until May 11, Anne von Freyburg’s exhibition Filthy Cute, is a vibrant exploration of femininity, rococo subversion and textile craft. Her rich masquerades of femme fancy work to expose modes of feminist thought and subversions of traditional romance. We spoke to the London-based Dutch artist about how her bold fabric canvases are turning patriarchal desire on its axis. 

Tactile and whimsical, Freyburg’s large-scale pieces are astounding for several reasons. The most obvious argument is the creative’s steadfast grip on textile art. Since completing her Goldsmiths Masters in 2016, Freyburg has garnered attention for her intricate patchwork and stitched compositions. Blended with an alchemy of acrylic inks, collaged fabric, sequins, tassel fringes and eccentric ephemera, her works reimagine textile as a medium within the tradition of painting. “It’s one of the biggest drives behind my work and my aim is to blur these [craft and fine art] boundaries,” says the artist. As well as being aesthetically compelling, the artist’s waterfalls of fanciful embellishments also hold social and personal gravitas. “Making large-scale work from fabrics that are quite kitschy and gaudy and overly feminine is really empowering and fun for me,” says Freyburg. “It makes me deal with difficult topics and frustrations in a light-hearted way.”

The complexity of each artwork’s meaning is reflected by their elaborate compositions. Within each tableau of spooling threads, lies historical resonance and contemporary critiques on gender, identity, and commodification. While the latter three words are beloved by thesis writers and contemporary feminists, Freyburg succeeds in reprising the emotional nature of each topic (often lost on the dregs of marked essays) by weaving narratives into each piece. Namely, the clichés and tropes that have been associated with heterosexual romance, as typically depicted in Hollywood movies and throughout popular culture.

According to the artist, stories and history come hand-in-hand with craft and decoration. “There is a lot of context and history behind fabrics… They can be used as a language in art as part of a bigger story,” says Freyburg. “Textiles in contemporary art can be both material-driven and conceptual at the same time.” For Filthy Cute, Freyburg is inviting viewers to observe centuries of women’s struggle for autonomy play out in candy-coloured brilliance. As Freyburg puts it, her work is “about being free. No more fairy tales about men saving women, but women being the heroine in their own life story.” A key example of this is the artist’s reimagining of Rococo art and spotlighting the objectification of female tropes.

At the heart of Filthy Cute are two major pieces parodying paintings from Jean-Honoré Fragonard’s (1732 – 1806) The Progress of Love, a four-piece Rococo series commissioned by Madame du Barry, the mistress of Louis XV. The series, which was completed in 1771, explores the four stages of love—from flirtation to marriage and its calm aftermath. Scenes within the series, like Fragonard’s The Lover Crowned (1771-1772), depict the hallmarks of mid-18th-century Rococo: florals, pastels, evergreen facades, and bucolic heterosexual romance. Although Freyburg subverts the patriarchal values underpinning Fragonard’s pieces, much of their pastoral beauty and vibrant charm remain present in her oeuvre. “The lush brush strokes are something that I want to keep and even exaggerate,” she says.

One of the exhibition’s key works, titled Electric Feel, is a bold, colourful reimagining of Fragonard’s The Progress of Love. The imagery is not as straightforward as in the original; instead, the focus shifts. “Through the way I use materials and saturated colours the image and story get blurred and distorted. This disorientation invites people to see the work in a new light,” says the artist. “It’s about reminding people to see beyond the surface of these historical depictions and question what is really being presented.”

Many paintings by Rococo masters like Fragonard, François Boucher (1703 – 1770), and Jean-Antoine Watteau (1684 – 1721), depict the era’s archetypal woman as desirable, vivacious, demure, and delightfully charming. She flits from painting to painting as a fixed paragon of youthful grace and elegance. Her love is won through the courtship of equally affluent, handsome men-equals in beauty and social status. As the object of admiration and romantic pursuit, the woman herself is objectified. It is this one-dimensional portrayal of love that Freyburg reckons with in her own whimsical manner. 

Pieces like My Little Pony, Hello Kitty, and Love Hearts incorporate swirling patterns and prints, expressing the idea of impressionable young minds growing up in a world in flux. Paired with more sensual materials, these works describe an evolution of sorts from a young girl to an older, empowered woman. “These elements are little signifiers for childlike playfulness, a time free of self-judgment,” the artist says. “They also remind me that that kid is still there, and it’s in all of us.” Unlike Fragonard’s serenely bountiful women, these playful references underscore a dialogue between childhood innocence and the empowered femininity of adulthood. “In a way, I take on these ‘female’ subjects to retain and reclaim its feminine identity,” says Freyburg. “By using bright colours and shiny fabrics I make them even louder and stronger.” 

Filthy Cute also includes Freyburg’s floral series, in which the artist has looked at the still life flower paintings of 17th-century Dutch Masters like Jan van Huysum. These paintings were often commissioned by the wealthy middle class and were a symbol of global trade and wealth to display their wealth and taste. “Who consumes what, and at whose expense?” Freyburg asks. Flower paintings of this kind were considered largely decorative and were one of the few subjects female painters were allowed to approach. “Both the flower still-lifes and the Rococo paintings were seen as highly decorative and feminine. Likewise, with textiles and sewing, it was considered to be women’s work and for a long time not taken seriously as a fine art medium.” Freyburg’s response imbues these works with new life through exuberant textiles – renewing the significance of the traditional flower painting while celebrating the feminine.

The artist critiques not just the historical treatment of the subject but also the modern-day fetishization of luxury and consumption. “In Kabloom, I used pop art symbols to emphasize the commodity aspect of its history, but at the same I’m also critical about art as a commodity.” Like Kabloom, a piece called Tuttifrutti, which incorporates snakeskin fabric and exotic bird ornaments, plays with the idea of commodity fetishism and the Western obsession with exoticism. Freyburg elaborates, “Both works are partly a post-colonial critique and exaggerate the exoticism of the West for foreign objects and flowers.” This exploration of global trade, capitalism, and consumerism is reflected not just in the florals but in the materials themselves, which include pop art symbols and textiles that emphasize the artificial nature of beauty and luxury. The poignancy of these pieces is rooted in today’s unstable economic climate. According to the artist, “we are at the height of globalism and capitalism. People and the environment are getting exploited because of consumerism.”

Upon reflecting on Freyburg’s exhibition, its elusive title feels apt. Like the multiple meanings running through each artwork, the words Filthy Cute may seem playful at first, but they hold a deeper, subversive meaning. Inspired by the lyrics of a Prince song, the phrase references the sexualization of a young, innocent female figure, turning her into a mere object of desire. Freyburg explains, “The words sound fun and innocent but are actually quite degrading. In the song, it’s used to sexualize the subject and make her into a sexualized object. She is childlike but still dirty enough to have sex.” The juxtaposition of “filthy” and “cute” sets the tone for an exhibition that uses both humour and critique to destabilize traditional notions of femininity and the male gaze.

The future looks bright for the artist, and fans can look forward to her first solo show with K Contemporary in Denver USA (opening on November 8). The show will feature two pieces inspired by Fragonard’s The Progress of Love (as seen in Filthy Cute). The next chance to see her work in London will be from May 28 at St. Bartholomew the Great, titled Slipping the Veil.

Anne von Freyburg’s work is on view at Saatchi Gallery in London from March 28 to May 11, 2025. Click here for more. 

words. Raegan Rubin

CULTUREEDIT is ushering in a new chapter for LGBTQ+ artists with its groundbreaking online art auction, ending on April 26. The inaugural event, aptly titled #1, will feature a dynamic and eclectic selection of 100 works by 70 artists from around the world, showcasing a vibrant spectrum of media from photography and painting to sculpture, textiles and more. CULTUREEDIT has established itself as a pivotal platform for emerging and established queer artists. As the first event of its kind, the auction marks a pivotal moment in the platform’s expansion. The platform provides an essential space where queer artists can receive the recognition and financial support they deserve, ensuring that their work is seen by a global audience. 

Unlike traditional auctions, which often rely on donated works, CULTUREEDIT ensures that artists are fairly compensated, with 65% of the revenue from each sale going directly to the artist. This fair compensation model is a core part of the platform’s mission, which seeks not only to provide exposure but also to offer meaningful financial support, ensuring the sustainability of queer art within the marketplace.

The selection is not only about showcasing exceptional talent but also about creating a sense of community. Many of the artists involved are actively engaged in supporting and mentoring other queer creatives, strengthening the broader queer arts ecosystem. For example, renowned artist and curator Joakim Andreasson, founder of CULTUREEDIT, has been a fierce advocate for bringing queer art into mainstream visibility. 

A celebration of queer creativity and platform for LGBTQ+ artists, the auction arrives at a time when the visibility and economic empowerment of queer artists are more important than ever. It’s a moment of reflection on the long and transformative history of queer art—a history that has consistently pushed boundaries, challenged societal norms, and created spaces for new dialogues around identity, sexuality, and culture.

The legacy of queer art is substantial and deeply inspiring; teeming with iconic figures whose works continue to influence contemporary artists today. Andy Warhol’s bold experimentation with celebrity culture, Robert Mapplethorpe’s unapologetic exploration of eroticism and identity, and Keith Haring’s vibrant activism through art were revolutionary during their time and remain foundational in queer art history.

Much like these art legends, many of the artists featured in CULTUREEDIT’s auction continue a tradition of challenging conventions. Their pieces feel both personal and universal as they embrace the intersectionality of queerness with contemporary culture. From the provocative works of photographers like Josef Jasso, Zach McKnight and Félix Velvet, to vivid, boundary-pushing paintings by artists like Alexander Cavaluzzo, Zach Grear, Łukasz Leja, and textile artist Renan Estivan, the auction’s collection speaks to a diverse range of experiences and perspectives.

These artists infuse aspects of their identities into their work. Using art as a vehicle for exploring the complexities of their personal histories, and broader ideas of love, loss and liberation. By doing so, they continue to contribute to the evolving dialogue surrounding LGBTQ+ representation in the arts.

In the spirit of Warhol, Mapplethorpe, and Haring, the artists in this auction are not just contributing to art—they are making history. Through their works, they are continuing a legacy of resilience, creativity, and advocacy for visibility and representation, ensuring that queer voices remain a crucial part of the broader conversation in contemporary art.

Click here for more information about the auction and to explore the collection.

words. Raegan Rubin

From May 1 to 4, 2025, the PalaisPopulaire in Berlin transforms into an immersive experience celebrating art, champagne, and conscious living. During Berlin Gallery Weekend, a key event on the cultural calendar, Ruinart invites guests to explore the multifaceted world of its historic champagne house in a new way at the Ruinart Champagne & Art Bar to celebrate its 2025 artist collaboration, Julian Charrière, a Franco-Swiss artist whose work explores the intersections of time, geology, and human impact. 

Known for blending scientific research with poetic storytelling, Charrière challenges how we perceive nature — not as something separate from us, but as a force constantly shaped by human history and intervention. Conversations with Nature brings this perspective to Ruinart’s terroir, transforming the Champagne house’s deep connection to the land into an artistic dialogue that spans millennia. Conversations with Nature makes its debut in the Champagne & Art Bar, inviting viewers into a dialogue with the natural world through the lens of time and terroir. 

Ruinart’s selection of Charrière is a natural fit. The Maison has long been at the forefront of sustainability in winemaking, from regenerative viticulture to eco-designed packaging. Charrière’s work adds another layer, questioning how human activity reshapes the environment and what it means to engage with nature in a time of ecological urgency. “At the heart of my work lies the notion of encounter — an intimate dialogue with place, biome, and environment. These moments are not mere observations but exchanges, where landscape and presence intertwine, shaping one another in a quiet, reciprocal conversation,” he explains.  

The event, which occurs between May 1st to the 4th at PalaisPopulaire in Berlin, includes a carefully curated, sustainability-inspired menu offering light, à la carte dishes crafted to pair perfectly with Ruinart’s champagnes. Guests can register now to indulge — from refreshing starters to refined bites, every pairing is designed to elevate the flavours of each pour. In addition to the art, what guests can really experience is what is at the heart of Ruinart’s philosophy: a deep commitment to sustainability, evident in every aspect – from vineyard practices to packaging innovations. The newest cuvée, Ruinart Blanc Singulier, embodies this vision, reflecting both environmental mindfulness and the Maison’s iconic character. Guests can taste it by the glass and even purchase a bottle wrapped in a Furoshiki cloth as a keepsake.

Champagne’s limestone-rich soil holds traces of an ancient sea that once covered much of Europe. Forty-five million years ago, the region was submerged under the Lutetian Sea, a vast marine world whose fossilised remains still shape the land. The chalk pits (crayères) beneath Ruinart’s vineyards are ghostly echoes of this past, a reminder that landscapes are never static — they carry the memory of deep geological time. 

Charrière pays tribute to this lost ocean while reflecting on the fragile state of today’s marine ecosystems. His Conversations with Nature series includes a collection of photo lithographs capturing coral reefs — luminous, living structures that mirror the prehistoric marine forests that once thrived beneath Champagne. Using a 19th-century lithographic process, Charrière reimagines these corals through pigments sourced from locally collected limestone and crushed corals. The muted, pale tones evoke the fading vitality of these ecosystems, suggesting both the resilience of nature and its vulnerability in the face of environmental change.  

Unlike a traditional gallery exhibition, Conversations with Nature is designed as a multi-sensory experience. Through large-scale installations, geological textures, and soundscapes, Charrière invites viewers to engage with Champagne’s terroir in a way that goes beyond observation. The collaboration reinforces Ruinart’s vision of Champagne as a product of time, landscape, and human ingenuity.  

Visit Ruinart Champagne & Art Bar from May 1 – 4, 2025, 1 PM to 9 PM daily, at PalaisPopulaire, Unter den Linden 5, Berlin Mitte. Register now at ruinart.com.

photography. Alice Jacquemin, Gregoire Machavoine, Raul Cabrera
words. Gennaro Costanzo