Jeff Koons, “Split-Rocker,” 2000, installed at Versailles, Paris, 2008. (Photo: Laurent Lecat)

It’s no secret that Jeff Koons is a master of pop art. Since the 1980s, Koons has created some of the world’s most recognizable sculptures, ranging from giant balloon animals and the Incredible Hulk to Hoover vacuums and the Pink Panther. Across the entirety of his practice, play and humor are clearly at the forefront, and Split-Rocker is no exception. Now, an artist’s proof of the monumental sculpture has found a new—and permanent—home at the Los Angeles County Museum of Art (LACMA).

Towering at a height of 37 feet, Split-Rocker combines two child-like and nostalgic forms: half of a pony’s head, and half of a dinosaur’s head, both simplified to the point of appearing appropriately cartoonish. More than 50,000 plants bloom across the sculpture, completely covering its surface while being supported by an internal irrigation system. Each season, these flowers transform, evolve, and alter the profile, texture, and character of Split-Rocker, reinforcing its status as both a surreal and “living” sculpture. To accommodate California’s climate, LACMA’s edition of Split-Rocker will be outfitted with drought-tolerant flowers and plants, curated by a dedicated team of local horticulturalists.

LACMA’s acquisition of Split-Rocker also kicks off a new chapter for the institution. Gifted by Lynda and Stewart Resnick, the sculpture will anchor the public gardens surrounding the David Geffen Galleries, which will open in 2026 and house the museum’s permanent collection. In preparation for its opening, LACMA is also planning a “robust program of outdoor public art” throughout the 3.5-acre park. Alongside Koons, the garden will feature sculptures and works by Liz Glynn, Thomas Houseago, Shio Kusaka, Pedro Reyes, and Diana Thater.

Since 2000, both the artist’s proof and first edition of Split-Rocker have traveled around the world, having been exhibited at the Fondation Beyeler, Rockefeller Center, Palais des Papes, and Versailles. As of 2013, the sculpture’s first edition is on permanent display at the Glenstone Museum in Maryland.

“Jeff is a master of bringing bold playfulness together with layers of deeper artistic meaning,” Michael Govan, LACMA’s CEO and Wallis Annenberg director, says in a statement. “We’re thrilled to welcome this living sculpture to LACMA, where it will greet visitors, pedestrians, and traffic along Wilshire Boulevard.”

LACMA anticipates seeding Split-Rocker later this summer, with hopes for it to be fully bloomed by next April. Uniquely, among four of Koons’ flower sculptures worldwide, LACMA’s Split-Rocker will be “alive and growing year-round in the mild climate of Southern California,” as Govan enthusiastically adds.

To learn more about Split-Rocker and the opening of the David Geffen Galleries, visit LACMA’s website.

LACMA has acquired Split-Rocker, a monumental living sculpture depicting childhood toys by Jeff Koons.

Jeff Koons, “Split-Rocker,” 2000, installed at Versailles, Paris, 2008. (Photo: Laurent Lecat)

Jeff Koons, “Split-Rocker,” 2000, installed at Rockefeller Center in New York, 2014. (Photo: Tom Powel Imaging)

Jeff Koons, “Split-Rocker,” 2000, installed at Rockefeller Center in New York, 2014. (Photo: Tom Powel Imaging)

Los Angeles County Museum of Art: Website | Instagram

My Modern Met granted permission to feature photos by LACMA.

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Alvin Lucier (Photo: Non Event via Wikimedia Commons (CC BY-SA 2.0))

What if death weren’t the end for human creativity, but instead the catalyst for a new kind of art? Revivification is a haunting and immersive installation created in collaboration with the late American composer Alvin Lucier that probes the liminal space between life and the afterlife. Speculative science fuses raw emotion to create a piece that invites us to question not just how far creativity can go, but whether it even should go that far.

Revivification is an immersive installation in the Art Gallery of Western Australia that, according to the gallery, has been “four years in the making.” The concept was developed by artists Nathan Thompson, Matt Gingold, and Guy Ben-Ary, in collaboration with neuroscientist Stuart Hodgetts and Lucier.

One of the most respected experimental composers of his time, Lucier’s compositions were known for drawing from principles of physics in sound. He often took a curious and playful approach to creating music; one particularly memorable example is his 1969 piece titled “I Am Sitting in a Room,” where he read a passage multiple times over while recording on the same tape. Lucier repeated the process until it became nearly impossible to pick out the words of his phrase in the cacophony.

Lucier began working with the artists and scientists on this project in 2018, three years before he died in 2021. Ever the risk-taker, the composer provided the group with his blood. White blood cells from this sample were “reprogrammed into stem cells,” then into organoid structures that are meant to resemble and mimic a developing human brain.

In Revivification, these cerebral organoids run the show, physically and metaphorically. Placed in the center of the installation space in an incubator, the organoids represent Lucier’s “in-vitro brain” that lives beyond his earthly and departed body. Electrical signals derived from this brain matter then send impulses that trigger mallets to periodically hit 20 brass plates mounted to the installation space.

The result is a haunting experience that prompts us to think deeper about the creation of art that occurs during and after our lifetimes. University of San Francisco cognitive neuroscientist Indre Viskontas has one way of framing it. “Creativity really has to have a conscious element to it,” she says in an interview with NPR. “I don’t think this particular piece of art is conscious. Those cells have no intention.”

Revivification doesn’t offer an easy answer or way out; rather, it lingers in this uncertainty, much like the reverberations of Lucier’s compositions. By animating remnants of a life once lived, the installation challenges us to confront questions of agency, authorship, and legacy. Is the music produced by Revivification a continuation of Lucier’s work, a resurrection, or something completely new and original?

Revivification is on view at the Art Gallery of Western Australia in Perth now through September 21, 2025.

The late experimental composer Alvin Lucier is still creating music three years after his death, thanks to science and brain matter derived from his white blood cells.

Photo: iLexx/Depositphotos

In the immersive installation Revivification, cerebral organoids developed in a lab send out electrical impulses to mallets, which then periodically hit brass plates lining the gallery's walls to create sound.

The installation prompts us to ask questions about agency, authorship, and legacy in creating art after life.

Sources: Artificial ‘Brain’ Aims to Allow Composer to Keep Making Music Three Years After His Death; Revivification; A Musician’s Brain Matter Is Still Making Music—Three Years After His Death

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Photo: Alice BL Durigatto

Artist Gabriel Dawe is creating rainbows indoors again. Continuing his dazzling Plexus series, the renowned creative has recently installed Plexus no. 46 as part of a group show at Villa Manin in Italy. The exhibition is titled Transparent Architectures (Architteture Trasparenti) and features Dawe’s work alongside incredible artists, including Christina Kubisch, Robert Irwin, Pat White, and Jeppe Hein.

As in his previous Plexus pieces, Dawe uses a full spectrum of hues to create an interplay of light and perceived color. Delicate threads are stretched across a partially walled space, and they crisscross to create new hues in the process (thanks to optical mixing). As the light shines on and through the threads, the unified components create a singular dazzling piece that evokes joy.

Transparent Architectures is a journey through contemporary art inspired by the concept of a border. A border is a geographic line—a boundary—but it’s also a mental space. In the context of this exhibition, it’s viewed as a “crossable limit, which can be crossed with the gaze or body.” This ties in with Dawe’s work. Although we can’t step into Plexus no. 46, we can traverse the structure in our mind.

Dawe began creating the Plexus series as an extension of his embroidery practice and experimenting with thread on an architectural scale. “That component started surfacing at the beginning, how buildings and clothing both have the function of sheltering,” he explained to My Modern Met in a previous interview. “But then when you use the material of the clothing on an architectural scale, you lose that physical sheltering quality, but it gets transformed into this very childlike quality. It becomes like a sheltering of the soul in that way.”

You can see Plexus no. 46 as part of Transparent Architectures (Architteture Trasparenti) at Villa Manin until October 26, 2025. While there, you can take in the history of the location. “Villa Manin is a palace about one and a half hours north of Venice, and built by the last Venetian Doge,” Dawe tells My Modern Met, “and that’s where Napoleon stayed for two months while negotiating a peace treaty when he defeated the Venetian Republic.”

Artist Gabriel Dawe is creating rainbows indoors again.

Photo: Alice BL Durigatto

Continuing his dazzling Plexus series, the renowned creative has recently installed Plexus no. 46 as part of a group show at Villa Manin in Italy.

Photo: Alice BL Durigatto

A full spectrum of hues creates an interplay of light and perceived color.

Photo: Alice BL Durigatto

Delicate threads are stretched across a partially walled space, and they crisscross to create new hues in the process.

Photo: Alice BL Durigatto

As the light shines on and through the threads, the unified components create a singular dazzling piece that evokes joy.

Photo: Alice BL Durigatto

See Plexus no. 46 as part of Transparent Architectures (Architteture Trasparenti) until October 26, 2025.

Photo: Alice BL Durigatto

Exhibition Information:
Transparent Architectures (Architteture Trasparenti)
June 8, 2025–October 26, 2025
Villa Manin
Stradone Manin, 10, 33033 Passariano UD, Italy

Gabriel Dawe: Website | Instagram

My Modern Met granted permission to use photos by Gabriel Dawe.

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German artist Katharina Grosse has long been a fixture of Art Basel, and to celebrate the iconic art fair's 55th edition, she created the largest urban art installation of her career. Grosse is known for her large-scale spray-painted artworks, and she certainly brought her artistic energy to the Messeplatz for CHOIR.

The piece, which was on view until June 22, saw Grosse spraying white and magenta forms across the Heurzog & de Meuron-designed space. Grosse selected magenta, as it is the color most visible to the human eye outdoors. At over 5,000 square meters (nearly 53,820 square feet), it completely envelopes the space, transforming it into an unmissable artistic monument.

“Color, especially magenta, grabs your attention and alters how you relate to your surroundings,” the artist writes. “It becomes a tool to disrupt habits and provoke change. I want people to feel so destabilized, positively or negatively, that something moves.”

Moving freely from the pavement up the architecture itself, Grosse's work shows no limits. In fact, she likens it to “a vast painting [that] has flown through, landed briefly, and left its residue behind.” The ephemeral nature of the work, which lasted only a week, is also interesting given its context. While Art Basel is all about collecting and ownership, CHOIR demonstrates the power of art that is free and fleeting.

Curated by Natalia Grabowska of London's Serpentine, Grosse's installation is a celebration of freedom and the dissolution of boundaries.

For Art Basel 2025, German artist Katharina Grosse created her largest urban art installation to date.

CHOIR covers nearly 53,820 square feet and is an explosion of color.

“I want people to feel so destabilized, positively or negatively, that something moves.”

The ephemeral piece lasted just a week, demonstrating the power of art that is free and fleeting.

Katharina Grosse: Website | Facebook | Instagram

All images by Jens Ziehe, courtesy of the artist (c) VG Bild-Kunst, Bonn 2025. My Modern Met granted permission to feature photos by Art Basel.

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Only 14% of England’s rivers are in good health, with the rest heavily polluted by sewage and chemicals from industrial farming. The plants, animals, insects, and birds that once thrived in these vibrant ecosystems are now at serious risk. Now, London-based filmmakers Tom Wrigglesworth and Matt Robinson of Tom & Matt studio are creatively spotlighting the urgent need to protect the UK’s freshwater habitats in their new film, Flow.

Wrigglesworth and Robinson partnered with The National Trust to set up a unique animation installation in South Wales. The piece consists of several kinetic wooden sculptures, dotted throughout the river and carved with fish and bird cutout motifs. As the river flows, the current sets the sculptures in motion, creating continuous animated loops that symbolically breathe life back into a once-thriving river.

“The idea was to take the wildlife hidden below and bring it up to the surface by creating dynamic animated loops of different river based wildlife,” Wrigglesworth told My Modern Met. “Inspired by the negative space in the work of Kunio Kaneko, we cut shapes out of the wooden panels. The texture of the background became part of the image, the river illustrating itself.”

The filmmakers built 168 paddles attached to 21 spinning wheels. Each paddle showed one frame of a looping animation, all hand-cut from 2-millimeter-thick sheets of FSC-certified wood. The river’s natural flow powered the movement, controlling how fast the animation played.

“We chose a quiet stretch of the River Neath in South Wales, a visually beautiful home for the installation; but, unfortunately, one at increased risk of pollution, just like so many other freshwater habitats across the UK,” Wrigglesworth tells us. “Using the natural shape of the river we installed our sculptures. It became our timeline, as we moved down the river, we introduced each animated sequence, the narrative being written by its natural flow, dictating the final compositions of the film.”

Wrigglesworth and Robinson teamed up with a local crew and spent a week camping on-site to install the wheels. They then dedicated another week to filming each part of the installation, patiently working with the natural flow and light to capture the animated sculptures. “Despite careful planning, we had to accept we were at the complete mercy of the ever-changing river and weather for the shoot,” they admit. “On paper, it was simple, in practice, it was anything but—a reminder that we can't control nature, only work with it.”

As well as making their own independent films, Wrigglesworth and Robinson create work for advertising agencies and brands. Flow allowed the creative duo to do something different, away from screens. “At a time when branded content is crowded with heavy VFX,” they tell us, “we wanted to step away from the noise and make something real, in camera, built by hand, rooted in nature and raising awareness to something that's important and affects us all.”

Check out Flow below and find more of Wrigglesworth and Robinson’s projects on the Tom & Matt website.

London-based filmmakers Tom Wrigglesworth & Matt Robinson of Tom & Matt studio spotlight the urgent need to protect the UK’s freshwater habitats in their new short film, Flow.

As the river flows, the current sets the sculptures in motion, creating continuous animated loops that symbolically breathe life back into a once-thriving river.

The filmmakers built 168 paddles attached to 21 spinning wheels. Each paddle showed one frame of a looping animation.

Watch the animations come to life in the full short film below.

Tom Wrigglesworth & Matt Robinson: Website | Instagram

My Modern Met granted permission to feature photos by Tom Wrigglesworth & Matt Robinson.

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South African artist Daniel Popper has created an artistic landmark in Miami’s Arts District. Titled Lumen, the larger-than-life sculpture is permanently installed as the entrance to Society Wynwood, a vibrant apartment community. It’s covered in mosaic tile that comes alive when it’s dark. During the day, viewers can admire the earth-toned surface, but at night, projection mapping completely reimagines the mosaics. Suddenly, the sculpture lights up with a colorful, changing digital display. The surface now looks chrome, and the figure has iridescent colors painted over its eyelids—until the next projection.

The Lumen structure features organic, vine-like elements that begin on the ground and extend 30 feet in the air. They are meant to signify the “hidden channels of energy within the city,” as the name of the piece is a reference to the anatomy of a plant. Lumen, which comes from the Latin word meaning “an opening,” is the inside space of a tube, such as an artery. With this in mind, Popper’s piece is a fitting way to celebrate the hustle and bustle of Miami, a metropolis known for its beaches, art, and lively day-to-night culture. It's all made possible by the people who live and love Miami and work hard to add to its collective vitality.

“Creating Lumen for Society in Wynwood was an exciting opportunity to contribute to the area’s dynamic art scene,” Popper tells My Modern Met. “It allowed me to further explore mosaics as a way to connect people with the essence of our human nature, while using handcrafted textures to bring viewers’s attention into the present moment.”

You can find Lumen at the entrance of Society Wynwood, located at 2431 NW 2nd Ave in Miami.

South African artist Daniel Popper has created an artistic landmark in Miami’s Arts District.

Titled Lumen, the larger-than-life sculpture is permanently installed as the entrance to Society Wynwood, a vibrant apartment community.

It’s covered in mosaic tile that comes alive when it’s dark. During the day, viewers can admire the earth-toned surface…

…but at night, projection mapping completely reimagines the mosaics.

Another variation of Lumen was installed at Electric Forest 2025 in Rothbury, Michigan. Check out the projection mapping in action:

 

View this post on Instagram

 

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Daniel Popper: Website | Instagram | Facebook

My Modern Met granted permission to feature photos by Daniel Popper. 

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London-based artist Pierre-Christophe Gam is the founder of Toguna World, a digital lab and creative think tank where art and technology converge to imagine new futures. Drawing on his rich cultural heritage that spans Cameroon, Chad, Egypt, and Congo, he reinterprets communal memory through immersive, interactive experiences. His latest work, The Sanctuary of Dreams, curated by Onassis Stegi and installed in Pedion tou Areos park in Athens, is a multi-sensory experience that invites visitors to explore new ways of living, connecting, and imagining the world around us.

Set within a bright yellow, modern temple inspired by nomadic desert tents, visitors are invited to explore the colorful space and reflect on five questions: how we will eat, play, dream, pray, and love in an ideal future. A 44-minute art film unfolds across three screens, featuring experimental animation, atmospheric soundscapes, and mixed-media collage. After the screening, visitors are guided by an avatar of Gam to voice their visions for the future. These responses are archived as part of The Global Mapping of Dreams, a continent-wide research initiative spanning Africa and the diaspora.

Gam describes The Sanctuary of Dreams as “a monument to imagination.” On Instagram, he writes, “the work engages ancestral technologies and ritual spatial design to explore how we might reclaim time, space, and imagination in an age of acceleration and collapse.”

The Sanctuary of Dreams is free to experience at Pedion tou Areos, Athens until July 15. Find out more on the Onassis website.

The Sanctuary of Dreams is a multi-sensory experience that invites viewers to explore new ways of living, connecting, and imagining the world around us.

It was created by artist Pierre-Christophe Gam, founder of Toguna World, where art and technology meet to imagine new futures.

A 44-minute art film unfolds across three screens, featuring experimental animation, atmospheric soundscapes, and mixed-media collage.

Visitors are then invited to voice their dreams and visions for the future.

Pierre-Christophe Gam / Toguna World: Website | Instagram

My Modern Met granted permission to feature photos by Pierre-Christophe Gam / Toguna World.

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Artist Céleste Boursier-Mougenot explores sound and movement in an expansive installation now on view at Bourse de Commerce — Pinault Collection in Paris. Titled clinamen, the multisensory experience features an 18-meter (59-foot) diameter pool in the museum’s Rotunda filled with water that reflects the sky through its dome. The bright blue basin is a veritable ocean as a fleet of porcelain bowls is set in motion by a gentle current. The resulting movement generates “melodious and incantatory sounds,” all without human intervention.

Sound is a vital component of clinamen. At its core, the installation highlights the symphony created from the movement of simply existing. There are no planned compositions or orchestras. Rather, sound is produced by happenstance as the bowls inevitably collide.

While sound is one focus, so is form. The piece's title is inspired by Epicurean physics, which posited that the entire universe consisted of two things: matter and void. Matter comprises atoms, which move in random paths. We can think of the porcelain bowls as Boursier-Mougenot's of atoms; they similarly glide in haphazard ways. This makes unpredictability central to the overall experience of clinamen.

“If in the moment before two porcelain bowls collide you try to anticipate the resulting note or timbre,” Boursier-Mougenot explains, “most of the time your expectation will be foiled by the sound of the collision.” Thus, every showing of clinamen is unique.

Boursier-Mougenot’s clinamen has previously been installed at the National Gallery of Victoria in Melbourne, Australia, and Centre Pompidou-Metz in Metz, France. At the Pinault Collection, it's at an unprecedented scale. Clinamen is now on view until September 21, 2025.

Artist Céleste Boursier-Mougenot explores sound and movement in an expansive installation now on view at Bourse de Commerce — Pinault Collection in Paris.

Titled clinamen, the multisensory experience features an 18-meter (59-foot) diameter pool in the museum’s Rotunda filled with water that reflects the sky through its dome.

The bright blue basin is a veritable ocean as a fleet of porcelain bowls is set in motion by a gentle current.

The resulting movement generates “melodious and incantatory sounds,” all without human intervention.

Clinamen is now on view until September 21, 2025.

Watch the contemporary art installation in action:

Exhibition Information:
Céleste Boursier-Mougenot
clinamen
June 5, 2025–September 21, 2025
Bourse de Commerce—Pinault Collection
2 Rue de Viarmes, 75001 Paris, France

Céleste Boursier-Mougenot: Instagram
Bourse de Commerce — Pinault Collection: Website 

My Modern Met granted permission to feature photos by Bourse de Commerce—Pinault Collection.

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Artist Emmanuelle Moureaux has brought her colorful art to Tokyo with her 53rd 100 Colors installation at the high-tech Takanawa Gateway City. Acting as a gate to usher people into the new urban complex, 100 Colors Path launches visitors into the future thanks to 100 vertical color lines, each engraved with a year from 2025 to 2124.

While this focus on the passage of time is typical of Moureaux's installations, it's particularly appropriate given the setting. Developed by East Japan Railway Company, which also commissioned the installation, this newly opened complex in Tokyo's Minato ward combines smart mobility, robotics, renewable energy, and a startup ecosystem. Robot avatars, touch-free AI guides, and pod vehicles that shuttle pedestrians are just a few of its unique features.

Composed of 2,400 lines spaced at equal intervals, they create a dynamic installation as they overlap and disappear while visitors walk through the space. Moureaux gives a nod to the unpredictability of time and how different paths emerge depending on how we decide to move. Uncertain and ever-changing, the installation evolves in unknown ways just as the future will inevitably unfold.

In addition to the main installation, Moureaux added rainbow touches to other areas. Not only did she create graphic artworks for the north and south ticket gates of Takanawa Gateway Station, but she also designed street flags. Also, in keeping with the tech theme, an AR experience titled 100 Colors City allows visitors to immerse themselves in the world of 100 Colors through their smartphones.

100 Colors Path is a new installation by French-born, Tokyo-based architect Emmanuelle Moureaux.

Composed of 2,400 vertical lines in 100 colors, each hue is engraved with a year from 2025 to 2124.

The work serves as a gateway into the newly opened Takanawa Gateway City.

Uncertain and ever-changing, the installation evolves in unknown ways just as the future will inevitably unfold.

In addition to the main installation, Moureaux added rainbow touches to other areas.

Emmanuelle Moureaux: Website | Facebook | Instagram

My Modern Met granted permission to feature photos by Emmanuelle Moureaux.

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Vincent van Gogh’s deep admiration for nature served as a constant source of inspiration throughout his brief life. Flowers, in particular, feature in many of the Dutch Post-Impressionist painter’s renowned works, from his iconic Sunflowers to the celebrated Irises. And now, you can experience Van Gogh’s painted botanicals in real life at the Van Gogh’s Flowers installation at the New York Botanical Garden (NYBG).

From towering sunflower sculptures to a stunning recreation of The Garden of the Hospital in Arles (painted by Van Gogh in 1889), the Van Gogh’s Flowers exhibition transforms NYBG’s 250-acre landscape into a colorful tribute to the Dutch master. The botanical displays were brought to life through collaborations with contemporary artists Lee Baker and Catherine Borowski of Graphic Rewilding and immersive artist Cyril Lancelin, who created the 3D field of sunflowers. Plus, Kansas City-based sculptor Amie Jacobsen created large-scale versions of Van Gogh’s still lifes, featuring irises, roses, and imperial fritillaries.

Visitors can also take part in a LEGO Botanical Garden pop-up, as well as a “Plein Air Drop-In and Paint” event, where you can tap into your inner Van Gogh. NYBG is also screening Loving Vincent, an animated film about the life of Van Gogh, on multiple dates. Plus, on select evenings, the sky comes alive with a Starry Night drone show, lighting up the night with the artist’s iconic swirling skies. The incredible exhibition offers art and nature lovers of all ages a chance to fully immerse themselves in the life and work of one of history’s most iconic artists.

NYBG’s Van Gogh’s Flowers is open until October 26, 2025. Find out more and get your tickets via the New York Botanical Garden website.

The Van Gogh’s Flowers exhibition at the New York Botanical Garden celebrates the Dutch master's love of nature.

The botanical displays were brought to life with the help of several contemporary artists, including Lee Baker and Catherine Borowski of Graphic Rewilding, Cyril Lancelin, and Amie Jacobsen.

On select dates, the sky comes alive with a Starry Night drone show, lighting up the night with Van Gogh's iconic swirling skies.

 

View this post on Instagram

 

A post shared by New York Botanical Garden (@nybg)

Exhibition information:
Van Gogh’s Flowers
May 24–October 26, 2025
New York Botanical Garden
2900 Southern Blvd, Bronx, NY 10458

New York Botanical Garden: Website | Facebook | Instagram | TikTok | YouTube

All images via New York Botanical Garden.

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