The Art Bystander

Maitha Abdalla on folklore, guilt and the landscapes she paints. At her grandmother’s house in Khorfakkan, Maitha Abdalla remembers waking to the call to prayer, her grandmother’s voice and a rooster she had been taught could see angels. Years later she gave the bird a companion in her paintings. The rooster and the pig might fight, hold a conversation or become intimate. Both, she says, are her.Roland-Philippe Kretzschmar met the Emirati artist in Paris in October 2026 to record The Art Bystander Podcast. Abdalla works across painting, sculpture, film and performance. One of eleven children, Abdalla recalls the drawing of a doll that first made her feel seen, the anger she carried as a teenager and the bargain she struck with her father to travel alone at eighteen. A year in London and several months teaching art and English in Turkey gave her time to write about the characters she remembered from home.Abdalla explains why she writes a character before deciding whether to paint it or give it a part in a performance. She describes working on a canvas spread across the studio floor, applying paint with her fingertips while one song plays on repeat. We discuss the women she grew up among, the masculine qualities of some of her female figures, and her interest in what guilt can do to a body. She explains why sadness makes her want to write, and why she hesitates when asked if she goes looking for it. A comparison between Swedish forests and the Gulf desert prompts her to consider why a family might need a story to live with the loss of someone who went missing.The conversation turns to the imagined forests Abdalla began seeing before sleep on an earlier stay in Paris. Those landscapes are now on view in London. A pink sky or a crooked branch can suggest that someone has passed through, been hurt or fallen in love. When asked where she finds herself in these places, Abdalla answers, “I’m the landscape.” She also introduces Sit on the Chair Before It Forgets Its Purpose, a project she began during a research residency in Sharjah. In Tunisia she is exploring Stambeli, a tradition of music and trance. She explains why she hopes to take part in the rituals herself.Afterglow: From the Residue of a Departed SunMaitha Abdalla, Omar Kholeif, Mohamed Monaiseer and Randa MaddahPresented by Tabari at No.9 Cork Street, London30 October–21 November 2026 Hosted on Acast. See acast.com/privacy for more information.

Juergen Teller and Dovile Drizyte join Roland-Philippe Kretzschmar for a conversation about the creative partnership at the centre of their shared life.From his portraits of Kate Moss and Kurt Cobain to his collaborations with Marc Jacobs, Helmut Lang and Vivienne Westwood, Teller has developed one of photography’s most recognisable approaches. Here, he and Drizyte discuss how working together changed that practice, the role she plays across ideas and production, and why she encouraged him to continue when commercial photography was beginning to lose its appeal.We talk about building trust with the people in front of the camera, fashion as theatre, the value of uncertainty and the risks both took to be together. Drizyte also reflects on her path from political science and diplomacy to a career in New York and their life in London.The conversation leads into Guten Morgen Sonnenschein, Teller’s exhibition at Galerie Suzanne Tarasieve in Paris. They discuss images of their bodies appearing to merge and the morning coffee photographs he describes as a love letter to his wife.Guten Morgen SonnenscheinGalerie Suzanne Tarasieve, 7 rue Pastourelle, 75003 Paris7 November 2026–16 January 2027Also mentioned: The 90s: Art and Fashion, curated by Edward Enninful with the Tate team, at Tate Britain until 14 February 2027. Hosted on Acast. See acast.com/privacy for more information.

Isabelle Zetterström on painting the inner world. In her London studio, British-Swedish artist Isabelle Zetterström joins Roland-Philippe Kretzschmar to discuss the imagined landscapes through which she explores emotion, memory and the changing self.Recorded in October 2026, the conversation begins with a new series of paintings made for Stockholm. Zetterström describes using light and shadow to examine the self we show to others, the person we hope to become and the experiences we keep partly concealed. She reflects on why darkness can feel protective, and how drawing once helped her recognise feelings she could not otherwise name.We discuss growing up between two cultures, receiving a dyslexia diagnosis at eighteen and finding her way to the Royal College of Art, where she completed her MA Painting in 2026. The conversation also explores daydreaming, poetry, spirituality and the unexpected intimacy of hearing someone else describe what they see in her work.Zetterström features in Shapeshifting at Belenius, Stockholm, alongside Jenny Palén, Dorothea Tanning and Elsa Thoresen. Co-curated by Kretzschmar and Belenius, the exhibition runs from 6 November to 12 December 2026. Hosted on Acast. See acast.com/privacy for more information.

Jenny Palén on dreams and making art before understanding it. In her studio outside Stockholm, artist Jenny Palén joins Roland-Philippe Kretzschmar for a conversation about the images that arrive before their meaning becomes clear.Moving between painting, sculpture, film, textiles and scenography, Palén follows an idea before deciding what form it needs. Sometimes, she only understands what a work was about months or years after making it. We discuss her beginnings in Stockholm’s graffiti scene, studying art while raising children, and the role of meditation and lucid dreaming in her creative life. She describes how older works return in new forms, why film can feel like the ultimate medium, and what draws her to the meeting of hyperreality and Surrealism.The conversation also explores humour, the uncertainty of artistic legacy and her connection to Dorothea Tanning’s sculpture and textiles.The conversation was recorded ahead of Shapeshifting at Belenius, Stockholm. The exhibition brings together Palén, Tanning, Elsa Thoresen and Isabelle Zetterström. Co-curated by Kretzschmar and Belenius, it runs from 6 November to 12 December 2026. Hosted on Acast. See acast.com/privacy for more information.

Omar Kholeif has curated more than 100 exhibitions and written or edited over forty books. Showing their own paintings under their own name, however, meant giving up something they had wanted to keep private. Recorded at Kholeif’s home in East London, this episode of The Art Bystander brings Roland-Philippe Kretzschmar into conversation with the artist, author, curator and broadcaster about the experiences behind their work.Kholeif is Professor of Global Modern and Contemporary Art History at the Glasgow School of Art and leads its postgraduate programme in curatorial practice, delivered jointly with the University of Glasgow. They previously held senior positions at Sharjah Art Foundation, the Museum of Contemporary Art Chicago and Whitechapel Gallery. Their books include Internet_Art: From the Birth of the Web to the Rise of NFTs.We discuss Fellow Travellers at Tabari in Dubai, which brings five women artists into conversation with Kholeif’s paintings, and the research, friendships and personal decisions behind the exhibition. Kholeif recalls the trickster stories of their childhood, the influence of Jean Fisher and the encounter with Derek Jarman’s Blue that helped them understand why they had to make art.The conversation also addresses the art world’s fixation on biography, the financial reality behind a public career, and “dreamwork”: protecting the conditions in which people can imagine and create. We conclude with Afterglow in London and paintings made through experiences of physical pain, family separation and survival.Fellow Travellers: Tabari, DIFC, Dubai, until 10 January 2027.Afterglow: From the Residue of a Departed Sun, No.9 Frieze Cork Street, London, 30 October–21 November 2026. Hosted on Acast. See acast.com/privacy for more information.