Magdalena’s Strategic Influence In Art & Culture
Global Cultural Engagement – Serpentine Galleries Collaborations
In collaboration with the Serpentine Galleries, one of the world’s leading contemporary art institutions and a key part of the Bloomberg Philanthropies cultural portfolio, Magdalena M. Gabriel has contributed to a range of high-impact projects and events. Her role bridges strategy and influence, serving as a connector between the institution and a global network of patrons, collaborators, and cultural leaders. Through these collaborations, Magdalena’s strategic contributions have attracted new supporters and cultivated partnerships that extend the Serpentine’s reach and relevance globally. Her work with the Serpentine has supported the gallery’s mission to serve as a cultural catalyst, amplifying innovation, inclusivity, and cross-disciplinary dialogue.
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The Art Market 3.0 – Cultural Innovation in Monaco
Magdalena M. Gabriel co-curated and co-presented The Art Market 3.0, a high-profile event in collaboration with Musée Collection des Arts, CADAF, and MetaVRse. She played a central role in shaping the dialogue between traditional collectors, digital innovators, and institutional patrons, bridging the worlds of culture, technology, and investment. Held in Monaco during Art Week 2022, the event served as a platform for global dialogue on the future of digital collecting, sustainability in blockchain innovation, and the fusion of art and technology. Magdalena’s involvement helped to position Monaco as a progressive cultural hub embracing digital transformation.
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MAW Collaboration – Daniel Boéri, Sonia Falcone & Pierre Bonnefille
During Monaco Art Week 2021, Magdalena Gabriel collaborated with Daniel Boéri, cultural figure, sociologist, and founder of Galerie l’Entrepôt, to curate a refined dual exhibition that bridged spiritual symbolism and material mastery. The event featured Royal Love by Bolivian artist Sonia Falcone and a showcase by French Maître d’art Pierre Bonnefille. Her role involved concept alignment, symbolic narrative development, and the orchestration of the exhibition’s artistic pairing. She facilitated dialogue between the artists’ deeply distinct yet resonant approaches: Falcone’s vibrational colorwork and spiritual expression, and Bonnefille’s tactile architecture of pigment and texture. The collaboration marked a meaningful moment in Monaco’s cultural calendar, reinforcing the principality’s position as a refined hub for contemporary art and layered symbolism.
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Curations at Biennale Arte – Venice
The Biennale Arte in Venice stands as one of the world’s most influential platforms for contemporary art and cultural diplomacy. Over several editions, Magdalena Gabriel has contributed to its narrative through high-level curatorial collaborations that bridge innovation, symbolism, and cross-cultural dialogue. n 2017, she played a strategic curatorial role in Extraterrestrial Odyssey at Palazzo Pisani a Santo Stefano, collaborating with M17 Contemporary Art Center and curators Paulo De Grandis and Tamara Li. The exhibition featured Linda Condes’ technologically advanced works, including Sphinx, and was elevated by live performances from Daniel Lismore. Magdalena shaped the narrative and experiential framework, resulting in a critically acclaimed, multi-layered presentation that positioned the Palazzo as a space for progressive artistic discourse. In other edition, Magdalena collaborated with Bolivian artist Sonia Falcone, supporting her presence at the Biennale through symbolic alignment and institutional positioning. Falcone’s installation of vivid, aromatic spices brought a sensory and spiritual dimension to the event, with Magdalena ensuring the work resonated within the larger cultural dialogue of Venice. Magdalena’s contributions to Biennale Arte reflect her broader approach: merging strategic vision with cultural relevance to create experiences that are not only seen, but felt, and remembered.
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Pierre Bonnefille at the Enea Tree Museum
Magdalena facilitated a strategic connection between renowned French artist Pierre Bonnefille, known for his mastery of materials and surface innovation, and the Enea Tree Museum, one of Europe’s most unique living design and landscape spaces. She advised on the positioning, cultural framing, and institutional fit, supporting both parties in aligning narrative, timing, and symbolic relevance. Her role included curatorial integration guidance, high-level relationship management, and strategic communication between the artist and the institution. Pierre Bonnefille’s work was successfully introduced into the Enea Tree Museum, becoming part of a permanent, high-visibility cultural landscape known for engaging global audiences across design, sustainability, and innovation sectors. The collaboration enhanced the museum’s curatorial depth and opened new institutional pathways for the artist’s legacy within environmental contexts.
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On Top of the World – Curated Exhibition with David Linley
Hosted at the LINLEY flagship showroom in London, On Top of the World was an intimate exhibition merging nature-inspired artistry with refined design sensibilities. The initiative came at a time when global cultural expression was searching for optimism and emotional resonance. As curator, Magdalena Gabriel conceptualized and executed the exhibition, bringing together three acclaimed artists: David Linley, Sonia Falcone, and Enrico Giacometti, for the first time. She led the artistic direction, symbolic curation, and partnership development in collaboration with ART JED Gallery. Her role extended from strategic narrative building to immersive spatial storytelling, aligning each artist’s work into a cohesive vision of unity and aesthetic dialogue. The exhibition drew international attention, attracting key figures from the art, design, and philanthropic sectors. It became a platform not only for artistic exchange but for subtle cultural diplomacy, positioning the LINLEY space as a sanctuary of beauty, craftsmanship, and reflection.
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Cultural Representation – Damien Hirst
Magdalena served as a cultural intermediary and strategic representative for Damien Hirst’s work across Europe. Damien Hirst, one of the most commercially successful artists in contemporary history, is known for reshaping the boundaries of art and commerce. With a career marked by bold innovation and cultural provocation, his most iconic work “For the Love of God” a platinum cast of a human skull encrusted with 8,601 diamonds, was valued at $100 million, placing him among the highest-valued living artists of all time. Magdalena’s role included facilitating discreet placements of Hirst’s artworks within institutional and private collections, and aligning select exhibitions with collectors, foundations, and curatorial circles. She curated connections where the work could resonate symbolically, acting not as an agent but as a cultural translator, bridging the vision of the artist with the context of the collector. Through a series of high-trust engagements, Hirst’s pieces were embedded within influential European circles, both private and public, strengthening their narrative impact beyond the commercial sphere.
One Ocean, One Future – Art as Environmental Diplomacy
As curator of One Ocean, One Future, Magdalena transformed a UNESCO initiative into a resonant cultural experience that fused environmental advocacy with high-level artistic expression. Hosted at Art House 2050 in Monaco, owned by architect and artist Vasily Klyukin, the exhibition was supported by the Prince Albert II of Monaco Foundation and sponsored by Art Jed Gallery. Magdalena shaped the entire narrative framework of the exhibition, curating works that confronted marine degradation while elevating global dialogue through symbolic artistic intervention. Her curation brought together powerful pieces like Klyukin’s Why People Can’t Fly, a towering sculpture crafted from donated plastic waste from around the world, and Washed Up by Alejandro Durán, a haunting installation made of washed-up plastic across Mexican coastlines. Works by Roberto Indiana and activist Joe Corré added both cultural weight and political edge. Magdalena’s role extended beyond selection: she aligned the project with international environmental diplomacy, facilitated institutional partnerships, and positioned the opening as a platform for engagement, with Monaco’s Minister of State, Serge Telle, attending as guest of honour. The exhibition stands as a case study in how art can serve not just as commentary, but as a strategic force for awareness, collaboration, and policy influence.
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HAPPY VIEWS – Ellen von Unwerth in Monaco
Timed to coincide with the Monaco Grand Prix, HAPPY VIEWS marked the iconic German photographer Ellen von Unwerth’s debut solo exhibition in the Principality, curated and produced by Magdalena Gabriel Fine Art. Hosted at the prestigious Kamil Art Gallery in Emile Palace, directly opposite the Grimaldi Forum. The show brought together a dynamic selection of von Unwerth’s photographs, merging fashion, portraiture, and fine art with a thematic focus on luxury, celebration, and the playful tension between being seen and seeing. Magdalena’s involvement extended far beyond curation, her work secured a venue synonymous with status and elegance and orchestrated a high-profile cultural alignment with Monaco’s social calendar. The exhibition was supported by a private dinner hosted by philanthropist and Art Monte Carlo Ambassador Safia El Malqui, enhancing the show’s resonance within the region’s elite circles. With strategic timing, a refined artistic vision, and immersive social integration, HAPPY VIEWS elevated Ellen von Unwerth’s work into a contextual statement on the Riviera’s visual culture, seen through Magdalena’s lens of narrative precision and cultural placement.
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Eternity – A Dialogue Between Art, Time, and Legacy
Curated by Magdalena for Art Jed Gallery, ETERNITY was unveiled as a central cultural experience during Salone del Mobile Milano, one of the most influential global design weeks. Set across two Milanese locations, the exhibition brought together world-renowned artists in a collective meditation on the concept of eternity, exploring permanence through material, memory, and emotion. Magdalena shaped the curatorial direction to balance historical legacy with cutting-edge expression, aligning the works with the architectural and symbolic rhythms of Milan Design Week. Her selection of works included Achrome canvases by Piero Manzoni, sculptures by Enrico Giacometti and Vasily Klyukin, holographic installations by Sonia Falcone, and bronze compositions by Pierre Bonnefille. Each piece reflected the curatorial narrative: that art is a vessel through which beauty, mortality, and transformation are preserved and redefined across time. Through spatial design, narrative cohesion, and symbolic framing, Magdalena elevated the exhibition into a meditation on what it means to endure, to evolve, and to leave a mark. Magdalena’s influence was also reflected in aligning the exhibition with philanthropic goals; proceeds supported Lena Perminova’s initiative for children’s welfare. The result was not only a critical success, but a demonstration of how curatorial vision can elevate design into dialogue, and exhibitions into statements that last.
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