Iván Argote’s Dinosaur, New York, 2025. Photo: Augustina Zeya If you find yourself driving up 10th Avenue toward 30th Street in New York City, you may get the strange feeling you’re being watched — by a giant pigeon. Taking a stroll on the High Line, a public park made from a two kilometre stretch of the city’s decommissioned railway, you can stand beside this colossal bird: an aluminum, hyperrealistic sculpture by artist and filmmaker Iván Argote (b. 1983, Bogotá). With dust

BILLBOARD , 91 Zollstrasse, 8005 Zürich. Photo by Katharina Lütscher I first noticed the installation in February on my commute home from Basel. Still wallowing in my latest identity crisis, I was momentarily caught off guard by a familiar phrase leaping out at me – the striking font, New Edge 666, was created by Charlotte Rohde in 2021. Stark white against a darkening sky, the words 'Que la honte change de camp' (Shame must change sides) seemed to beckon to train passengers

CLEARINGS by Michel Comte. Photo: Olena Iegorova Along a three-kilometer forest trail in Dietikon, the art intervention CLEARINGS  emerges from a collaboration between Michel Comte and Yuichi Kodai and is part of the Art Flow project. The work was catalysed by their mutual fascination with the Katsura Imperial Gardens, a masterpiece of Japanese architecture and landscape design, where built structures stand in harmony with the environment without overpowering it. Rooted in th