Tonight, Robert Wilson’s production of Hamletmachine by Heiner Müller will open this summer’s Huichang Theater Village Festival. It is a re-creation of the iconic 1986 production, this time with a Chinese cast and spoken in Chinese language with English surtitles.
Photograph © 郭延冰 Guo Yanbing
The Black Rider, by Tom Waits, William Burroughs and Robert Wilson, first opened in 1990 in Hamburg, and became an immediate hit with audiences locally and internationally. The original production was revived in 2004 in an English-language version, and countless productions of the work by other directors have been shown since the mid-1990s all over the world.
Robert Wilson designed the scenography and staging for the Dior Women Ready-to-wear Winter 2025-2026 Collection. It was presented live in Paris at the Tuileries Garden on March 4, 2025.
“Maria Grazia asked me to stage the [Dior] fashion show, and we talked about it being loosely based on Virginia Woolf’s Orlando. Orlando is a journey that takes us to foreign lands, landscapes of ice and landscapes of fire. I divided this work into five acts. I worked with sound, I worked with light. Light is what creates space. Light is what helps us hear and see. I am not trying to tell a story. It is something that we experience, with the freedom to think and dream.”
Robert Wilson and Maria Grazia Chiuri (Photograph: Laura Sciacovelli)
Robert Wilson’s Scenography for ONCE UPON A TIME - © Christian Dior Couture
“... the most mesmerizing show—or rather, performance—of the international runway season so far.”
VOGUE: “Dior Initiates a Dialogue Between Past and Present for Its Fall-Winter 2025-2026 Show” by Héloïse Salessy (French original version here)
Fashion Network: “Dior: Orlando in the Tuileries” by Godfrey Deeny
HERO Magazine: “Dior was a theatrical tribute to the house’s iconic 90s” by Barry Pierce
Teaser / RW Interview for ONCE UPON A TIME - © Christian Dior Couture
Tonight, Feb. 27, at NYU’s Skirball Theater, Mary Said What She Said, the stirring monologue, performed by French icon Isabelle Huppert, and produced by the Théâtre de la Ville in Paris and EDM Productions, will make its long-awaited New York debut. Additional performances on Feb. 28, Mar. 1 (2x) and 2. For more information and tickets, please click here.
Another queen from Robert Wilson’s theatrical cosmos, Victoria, will make an appearance at Raisonné (16 Crosby Street), in the shape of a version of the “Queen Victoria Café Chair.” For his 1974 play A Letter for Queen Victoria, ten café chairs were made from industrial materials. Now, Wilson and Raisonné present an exclusive edition of ten Queen Victoria Café Chairs, reimagined in polished brass and plated steel.
And what’s more, this spring, Raisonné will publish the book “Robert Wilson Chairs,” a comprehensive volume featuring all of Wilson’s chair designs, including several works never previously exhibited. The book can be pre-ordered from artbook.
Marianne Faithfull as Pegleg in THE BLACK RIDER (London, 2004) - “The Last Rose of Summer”
The 2025 edition of the “Salone del Mobile.Milano” is partnering with the international lighting exhibition “Euroluce.” Robert Wilson will not only curate and design the opening gala at the Teatro alla Scala in Milan - entitled The Night Before—Objects, Chairs, Opera - but also create a vision of Michelangelo’s sculpture “Pietà Rondanini” in its own dedicated space: the “Spanish Hospital” at Sforzesco Castle. This work, entitled MOTHER, will be accompanied by the sounds of Arvo Pärt’s masterful “Stabat Mater.” - We will publish dates, opening hours and links to the venues on our Calendar as soon as they are released.
Robert Wilson visiting the Pietà Rondanini in Milan.
Scene from PESSOA—Since I’ve Been Me (Photograph © Lucie Jansch)
For the 2024 edition of LOOP Festival Barcelona, Robert Wilson’s Video Portrait of Gao Xingjian (HF Video, 2005), writer and 2000 Nobel Laureate in Literature, enters a visual dialogue with a work by Xingjian himself, “Lumière” (Ink on canvas, 2015). Complemented by Wilson’s “Messiah” drawings (Charcoal on paper, 2020), the exhibition at galeria SENDA invites the viewer to an experience of slow and reflective contemplation. In a world of rapid stimuli and fleeting images, it forces us to stop, to feel each small gesture, to observe and to appreciate the power of subtlety in art.
