From the summer of 2019 the Kunsthal Rotterdam will present the impressive retrospective exhibition ‘Joana Vasconcelos. I’m Your Mirror’, featuring the work of the famous Portuguese artist Joana Vasconcelos (1971). In an activist and feminist way, and with a profound respect for Portuguese culture and traditions, she gives reality her own personal twist. Vasconcelos is known for her sharp sense of proportions, masterly use of colour and unusual choice of materials, like household appliances, wall tiles, textiles, medicines, urinals, pans and plastic cutlery.

In Eliasson’s captivating installations you become aware of your senses, people around you and the world beyond. Some artworks introduce natural phenomena such as rainbows to the gallery space. Others use reflections and shadows to play with the way we perceive and interact with the world. Many works result from the artist’s research into complex geometry, motion patterns, and his interest in colour theory. All but one of the works have never been seen in the UK before. Within the exhibition will be an area which explores Eliasson’s deep engagement with society and the environment. Discover what an artist’s perspective can bring to issues of climate change, energy, migration as well as architecture. And once every other week you’ll be able to communicate with people from Eliasson’s 100-strong team in his Berlin studio via a live link. The kitchen team at Studio Olafur Eliasson will also create a special menu and programme of related events for Tate Modern’s Terrace Bar, based on the organic, vegetarian and locally sourced food served in his Berlin studio.

Stinking Dawn is a walk-in stage design that functions as a changing film setting. Monumental modular architecture sets the location for a film by Gelatin and Liam Gillick that will be shot in situ. Directed by Gillick and based on his script, Gelatin will play the leading roles in this experimental film that explores the limits of human tolerance in the face of oppression, political crises and excessive self-deception.

Over a 70-year career, Takis (Panayiotis Vassilakis, born 1925) has created some of the most innovative art of the 20th century. Takis’s work seeks out the essential poetry and beauty of the electromagnetic universe. He was one of the most original artistic voices in Europe from the 1960s and remains a pioneering figure today. This the largest exhibition of Takis’s work ever held in the UK, bringing together over 70 works. Throughout his career he has produced antennae-like sculptures he calls Signals, and musical devices using magnets, electricity and viewer participation to generate resonant and random sounds. Such inventions earned Takis the admiration of the international avant-garde, ranging from the American Beat poets to artists such as Marcel Duchamp.

The exhibition ‘A Journey to the Homeland’ by the South African photographer Katharine Cooper (1978, Grahamstown) presents a probing portrait of white Africans. Major political events, such as the collapse of Apartheid in South Africa in 1994 and the expulsion of white farmers from their houses in Zimbabwe in 2000, significantly changed the position of these Africans. Although many of them managed to secure a certain future for themselves after these changes, others were not so lucky. In 2013, Cooper returned for a journey through the countries of her childhood, South Africa and Zimbabwe. In a respectful way, she captured members of the white minority that she used to belong to herself.

France-Lise McGurn (born 1983) is a Glasgow-based artist who predominantly works with painting to create fluid works that spill from the canvas onto the gallery walls, floors and ceilings. In her work McGurn draws on a collected archive of found imagery to create figurative installations which express notions of sexuality, ecstasy, loss and consciousness. The new body of work presented in Sleepless explores the experience of living in a city as one that is intimate and inherently sexual. The exhibition title itself evokes key themes in McGurn’s work, including partying, dreams, longing, motherhood and nostalgic popular culture, recalling the 1993 romantic comedy Sleepless in Seattle. Working intuitively rather than through direct appropriation, McGurn uses swift brushstrokes and repeated marks to create loose associations about place and history, inviting viewers to conjure their own narratives.

To mark the 25th anniversary of the city partnership between Berlin and Beijing, the Gesellschaft für Deutsch-Chinesischen kulturellen Austausch (GeKA e.V., Society for German-Chinese Cultural Exchange) in cooperation with the Staatliche Museen zu Berlin is showing works by young artists from Berlin and Beijing at the Museum für Fotografie (Museum of Photography).

The Collection de l’Art Brut will be closed until September 17th (2019) for construction work entailing, above all, the installation of an elevator. Given this time frame, we take pleasure in inviting you to a show extending from June 28th to September 22nd in the gardens of the Château de Beaulieu in Lausanne and featuring large-scale photographs of Outsider Art “environments” from around the world. These represent architectural feats or installations set up, for the most part, on private plots or gardens belonging to self-taught builders. Some of the latter have, however, taken over such sites covertly: to such creators, the very act of creating is part and parcel of their entire life.

This major new retrospective will explore the development of Sherman’s work from the mid-1970s to the present day, and will feature around 150 works from international public and private collections, as well as new work never before displayed in a public gallery. Focusing on the artist’s manipulation of her own appearance and her deployment of material derived from a range of cultural sources, including film, advertising and fashion, the exhibition will explore the tension between façade and identity.

Sketches and studies in oils hold a special appeal due to their immediacy and often unorthodox subject matter and individuality. Mostly on a small scale, they originated as drafts for potential patrons, evolving during the course of the nineteenth century into works of art in their own right. The Belvedere is dedicating an IN-SIGHT exhibition to this unique art form.

Berlin-based artist Heike-Karin Föll (born 1967, DE) works on the materiality and mechanisms of drawing, painting, and writing. The exhibition speed at KW Institute for Contemporary Art is her first institutional solo show and presents an overview of various groups of work.

Image Bank was founded in 1970 in Vancouver, Canada, by artists Michael Morris, Vincent Trasov and Gary Lee-Nova. A model for a utopian, alternative system of art distribution operating outside institutions like the museum and the market, Image Bank engaged in an international exchange of images and correspondence by mail. Among the artists participating in the ever-growing network of exchange were (besides Morris, Trasov, and Lee-Nova) Dana Atchley, Robert Cumming, Dick Higgins, Geoff Hendricks, Glenn Lewis, Eric Metcalfe, Kate Craig, Willoughby Sharp, General Idea and Ant Farm.

The Moscow Museum of Modern Art presents a solo exhibition by Ivan Gorshkov. Gorshkov is a prominent representative of the so-called «Voronezh Wave» in contemporary Russian art. The artists of this movement are known for their traditional art forms such as painting and sculpture rendered in a bold, «hooligan» manner. The exhibition includes Gorshkov’s works for the past few years such as the «Swan Lake» painting series, the «My Sweet Homeland» sculpture series, the installation «Utopia of Dragons», and selected works from the projects «Crystal Boots», «Hyper Jump and Anteater» and «Crème Brûlée». These works make up only a fraction of the show with most of the pieces being created specially for the occasion.  

Samostatná výstava vznikla pri príležitosti nového výskumu autorovej tvorby a sústredí sa na jeho tvorivé rozmýšľanie, expresívny kresbový rukopis a jeho vývoj. Skice, kresby a grafiky dopĺňajú vrcholné maliarske diela v niekoľkých tematických líniách, ktoré poskytujú divákovi kľúč na čítanie maliarovej tvorby aj doby, keď vznikala.

The exhibition City Prince/sses is presented as an imaginary, multiple and complex city, without borders, messy, staggering and creative: an unpredictable laboratory, which is always in motion and being (re)constructed. Visual artists, creators, fashion designers, experimenters, tattooists, musicians: a good fifty artists are presented without any geographical grouping, mostly via new productions and in situ interventions.

With her installation entitled A Blazing World, created especially for KUNST HAUS WIEN, Claudia Märzendorfer opens up multiple perspectives on the polluting of the world’s oceans with plastic waste. With a central sculpture and her texts France and Plastiglomerate. Equal to a photograph, Modernity’s reservoir, the artist draws attention to the complexity of the situation.

Rozměrná site-specific instalace slovenské sochařky rozvíjející téma rostlin a herbáře v podobě pravidelného rastru na dolním podlaží synagógy doplněná o kreslířský projekt s obdobným ideovým rámcem prezentovaný v prostorách ženské galerie.

Výstava velkoformátových fotografií – portrétů muže. Každý ze záběrů představuje odlišnou scénu nebo vlastnost „Adama“ a zosobňuje tak archetyp každého muže.

The exhibition features pictures of the moon from various epochs. Sometimes they present the moon as the source of light in a nocturnal landscape, sometimes it is allegorical in multiple ways, and sometimes it becomes a sort of anthropomorphic vehicle for conveying own states of mind. Contrary to the sun, the moon represents the night, darkness, things that can’t be explained by rational means, the horrifying, the miraculous, feminine and even healing powers. Among the artists whose works will be on show are Sebald Beham, Balthasar Anton Dunker, Franz Niklaus König, Ernst Kreidolf, Paul Klee, Nell Walden, Meret Oppenheim, Claude Sandoz to name just a few.

Mirror/Echo/Tilt is a performance and pedagogical project created by artists Melanie Crean, Shaun Leonardo, and Sable Elyse Smith to examine the language and gestures used to describe experiences of arrest and incarceration.

The District of Columbia, Maryland, and Virginia (DMV) region is full of boundaries and borders, both physical—like the state lines that divide these artists—and imagined—political ideology, economic class, gender identity, religious belief. These boundaries delineate spaces, groups, ideas, and more, but they are easily walked over, pushed through, and broken down. Furthermore, the artists featured in Crossing Boundaries and Breaking Borders: DMV Printmaking also question, push, and break down the traditional notions of what printmaking is as a technique, how it can be used, and how printmaking can be defined.

The exhibition title takes its name from bible verse Jeremiah 29:11 to echo the central role of the Black church in bringing communities together, inspiring hope, and acting as a vector for social change. The goal of this exhibition is to offer a space of learning and meditation that highlights the Black history of Montgomery County and western Washington, DC and pay homage to the communities who championed fights against racial discrimination through faith, family, and fellowship. While this exhibition highlights the communities of Scotland, Tobytown, and Macedonia-Moses, we hope future iterations of Plans to Prosper You will continue to prompt in-depth collaboration within and beyond these communities.

There is a mystery in the act of burying and even more so in uncovering. Maia Cruz Palileo’s paintings and drawings are the metaphorical teeth in this body of work spanning from 2013 to 2019. These works, including a small painting titled Burying Teeth, depict historical narratives from the colonial past of the Philippines, Maia’s country of origin, as well as stories and moments about her own life as a Filipina American growing up in the United States. Her paintings and drawings replicate figures from old family photographs, as well as photos from the American government’s archives depicting anthropological documentation of Filipinos during the American colonization. While her work evokes nostalgia and romanticism, it is imbued with a critical undertone of America’s colonization of the Philippines. Maia’s work is an examination of the Filipino diasporic psyche through a personal and political lens.

Being Here as ME presents six women artists striving towards constructions of female subjectivity. Pey-Chwen Lin, Tzu-Ning Wu, Yung-Chieh Wu, I-Chun Chen, Pei-Shih Tu, and Hui-Chan Kuo create new media artworks through diverse mediums and methods. Their work transcends gender discussions, and through social strategies, action, and engagement they express their concerns and create artworks revealing their anxiety and opinions about the ecology of society, science, technology and the environment. This exhibition is sponsored by the Ministry of Culture, Republic of China (Taiwan) and Taiwan Academy, Taipei Economic and Cultural Representative Office in the US (TECRO).

Passages: Keith Morrison, 1999-2019 surveys thirty paintings and watercolors by the Jamaican-born Keith Morrison. A magician of color and space and a teller of tales, fanciful and real, Morrison focuses on the tangible and spiritual components of culture. His subjects encompass Afro-Caribbean and Meso-American art and architecture, as well as the somber history of the Middle Passage. By turns mystical, meditative and joyous, Morrison’s work invites our entry into the rich visual world of his making.

In the more than hundred drawings and prints on display, the autobiographically seen, remembered and imagined merge with pata- and metaphysical speculations to form a unique visionary travel. Whether the viewer encounters monkeys that observe the world of humans as anthropologists or lizards that are prone to alcoholism – the perspectives twist and turn while absurd humour, carnavalesque puns and surreal exaggerations not only reveal the artistic but also the subversive value of Mattia Denisse’s fantasies.

In collaboration with the HipHopHuis and guest curator Lee Stuart, the Kunsthal Rotterdam presents an exhibition about hip-hop and its influence on fashion and lifestyle. Streetwear is dictating the speed and aesthetics of the fashion industry and changing how that industry is developing itself. Hip-hop is THE youth culture of choice, dominating the charts as well as the world-wide street scene – from a source of inspiration for high fashion brands to making sportswear more accepted for everyday attire.

Tate Liverpool presents a new commission by Berlin-based artist Sol Calero (born in Caracas, Venezuela, 1982). Calero’s work takes the form of brightly coloured, large-scale immersive installations that explore themes of representation, identity, displacement and marginalisation, all informed by her own perspective as a migrant. Calero’s new commission, El Autobús 2019, is inspired by a recent journey through Latin America. Visitors are invited to travel through the Wolfson Gallery, exploring the floor-to-ceiling mural which overwhelms the space with a landscape of patterns, panoramic views, floral motifs and architectural elements. Rooted in the centre of the gallery is a bus-like structure, which is reminiscent of the buses used by locals in Latin America. Visitors are encouraged to jump aboard to continue their own journey through the exhibition. Listen out for bus announcements, which promise to take you to destinations that can never be reached.

A part of the legendary New York art scene of the 1980s, Keith Haring (1958–1990) was inspired by graffiti, pop art and underground club culture. Haring was a great collaborator and worked with like-minded artists such as Andy Warhol and Jean-Michel Basquiat. All were interested in creating art for the many. Haring designed record covers for RUN DMC and David Bowie, directed a music video for Grace Jones and developed a fashion line with Malcolm McLaren and Vivienne Westwood. In doing so, he introduced his art and ideas to as many people as possible. Discover how activism played a key role in Haring’s art. Compelled to speak for his generation, his art responds to urgent issues including political dictatorship, racism, homophobia, drug addiction, AIDS awareness, capitalism and the environment. Visitors to the exhibition will see more than 85 artworks including large, vibrant paintings and drawings. Also on display are posters, photographs, and videos that capture the vibrancy of 1980s New York street culture.

Projekt představuje nastupující generaci umělců střední Evropy z Maďarska, Slovenska a Česka.  

With more than twenty million inhabitants in its Metropolitan area, São Paulo is a South American megacity with complex problems like extreme traffic, air pollution, water shortage, and informal settlements.  At the same time, the city has invested in architectural infrastructures for decades, creating inclusive places for urban society. The exhibition presents these buildings and projects, showing their possibilities and potentials. The selected examples have been built from the 1960s to the present, and range from a canopy in a public park to large multifunctional buildings. The most ambitious examples have collective programs that include sports, culture, health and gastronomical facilities. What all the selected projects share is their ability to create places of cooperation far beyond their functionality.

The BP Portrait Award is the most prestigious portrait painting competition in the world and represents the very best in contemporary portrait painting. With a first prize of £35,000, and a total prize fund of £74,000, the Award is aimed at encouraging artists to focus upon and develop portraiture in their work. Over the years, this has attracted over 40,000 entries from more than 100 countries.

One of the foremost artists of our time, Sophie Calle (*1953) tells stories through photographs and combines them with the written word. In her works, the French artist explores the relationship between memory and visual representation. What happens when images disappear or when seeing is no longer possible? Calle meticulously traces the last, missing or private photographs while reflecting on the relationship between text and image. There is a strong sense of intimacy that unfolds throughout her bodies of work and exerts an irresistible appeal.

da Ekblad lives in Oslo. She is a painter, sculptor, publisher, music producer, curator, and designer. She also writes. Her sources of inspiration include folk art, fashion, garbage, Samuel Beckett, youth culture, the natural forces of the elements, Gena Rowlands, traditional crafts, and so on. Everyday life is central to her work—as an imposition, but also conveying grace; as a voracious monster and a source of happiness; as a disaster and a glimmer of hope—for in Ekblad’s view, everything is full of promise, including art.

Sean Scully is known above all for his highly expressive abstract paintings of colorful stripes or rectangles. But it is an entirely new side of this artist that comes to light in a work series being given its first-ever presentation by the Albertina Museum. The series Eleuthera from the years 2015-2017 revolves around a very private subject: these 23 large-format oil paintings show Scully’s eight-year-old son Oisín playing at the beach on the island of Eleuthera in the Bahamas. This exhibition shows all of these oil paintings by Scully as well as smaller pastels, drawings, and photographic works.

In summer 2019, the Lower Belvedere is presenting the multi-facetted oeuvre of the American artist Kiki Smith. The exhibition will feature around sixty works from the last three decades, including recent pieces, and will place a focus on sculpture.

Twenty years ago in 1999, TASCHEN published its first monumental art book: Helmut Newton’s SUMO. (…) Ten years ago in 2009, the Helmut Newton Foundation staged an unusual yet compelling exhibition dedicated to this legendary publication: all 460 pages of the book hung framed on the wall, side by side, in three rows one above the other. Exhibition visitors were literally able to see everything at once. (…) Now, a decade later and 20 years after its creation, SUMO will once again be presented at the Helmut Newton Foundation. Newton’s SUMO exhibition is complemented by an expanded reprise of the “Three Boys from Pasadena”. Ten years ago, the works of three of Newton’s former assistants – Mark Arbeit, George Holz, and Just Loomis – were featured all together in one of the foundation’s exhibition rooms. For this new exhibition, each of these American photographers will have a dedicated space for his unique and multifaceted oeuvre.    

The large-scale monographic exhibition at KW surveys work from the past four decades alongside a new commission emphasizing the artist’s longstanding fascination for glass and its ambiguous status between materiality and immateriality, craft and concept.

Bani Abidi is known for her distinctive approach to filmmaking, which derives from the dark absurdities of everyday life. They Died Laughing is an extensive presentation of Abidi’s works, bringing together moving image and print-based works that span two decades.

The Centre Pompidou presents “HX”, a solo exhibition of the Beijing-based artist Cao Fei, born 1978 in Guangzhou. The exhibition marks the international première of the research project “Hongxia”, showcasing a selection of previously unseen works. This includes the feature-length film Nova, a collection of videos, photographs, archive documents, and installations of found objects.

Tate Modern will present the first retrospective of Natalia Goncharova ever held in the UK. Most of the works have never been seen in this country before. Goncharova found acclaim early in her career. Aged just 32 she established herself as the leader of the Russian avant-garde with a major exhibition in Moscow in 1913. She then moved to France where she designed costumes and backdrops for Sergei Diaghilev’s Ballet Russes. She lived in Paris for the rest of her life, becoming a key figure in the city’s cutting-edge art scene. Goncharova’s artistic output was immense, wide-ranging and at times controversial. She paraded the streets of Moscow displaying futurist body art and created monumental religious paintings. She took part in avant-garde cinema, experimented with book designs and designed for fashion houses in Moscow and Paris. Her bold and innovative body of work influenced and transcended the art movements of the 20th century. The exhibition will explore her diverse sources and inspirations, from Russian folk art and textiles to the latest trends in modernism and beyond.

The largest French retrospective ever devoted to Dora Maar (1907-1997) invites you to discover all the facets of her work, through more than five hundred works and documents. Initially a professional photographer and surrealist before becoming a painter, Dora Maar is an artist of undeniable renown. Far beyond the image, to which she is all too often limited, of her intimate relationship with Picasso, this exhibition retraces the life of an accomplished artist and a free and independent intellectual.

Diedrick Brackens (b. 1989, Mexia, TX) constructs intricately woven textiles that speak to the complexities of black and queer identity in the United States. Interlacing diverse traditions, including West African weaving, European tapestries, and quilting from the American south, Brackens creates cosmographic abstractions and figurative narratives that lyrically merge lived experience, commemoration, and allegory. He uses both commercial dyes and unconventional colorants such as wine, tea, and bleach, and foregrounds the loaded symbolism of materials like cotton, with its links to the transatlantic slave trade.

The Kunsthal Rotterdam has already organised All you can Art with David Bade and Tirzo Martha, the founders of the Instituto Buena Bista (IBB) Curaçao, and their team for three years in succession. All you can Art is a studio, exhibition and Summer School all in one, in which everyone – with no exception – has the opportunity of collaborating, making art, learning and discovering.

This exhibition offers a chance to experience the entirety of Bowling’s 60-year career. It showcases his sensual use of colour and bold experimentation.

This exhibition of international modern and contemporaryart turns its attention to the masked individual as well asto the performative act of the individual wearing a mask inits social and political context. Artists: Ed Atkins, Kader Attia, Julius von Bismarck, Thorsten Brinkmann, Miriam Cahn, Claude Cahun, Heinrich Campendonk, Edson Chagas, Eli Cortiñas, Max Ernst, Theo Eshetu, Gauri Gill, Werner Gilles, Martine Gutierrez, Stef Heidhues, Hannah Höch, Daniel Knorr, Zanele Muholi,  Meret Oppenheim, ORLAN, Pablo Picasso, Signe Pierce & Alli Coates, Sigmar Polke, Ulrike Rosenbach, Karl Schmidt-Rottluff, Lavinia Schulz, Cindy Sherman, Wiebke Siem, John Stezaker, Sophie Taeuber-Arp, Rosemarie Trockel, Alexej von Jawlensky, Gillian Wearing

An exhibition of the Kunsthalle Wien in context of the VIENNA BIENNALE FOR CHANGE 2019 In any society, one fundamental field in which gender is expressed is technology. Technical skills and domains of expertise appear to be divided between the sexes, shaping masculinities and femininities.

In the exhibition UNCANNY VALUES: Artificial Intelligence & You, the MAK is exploring one of the most important subjects of the coming decades, one that has significant consequences for all areas of our lives: artificial intelligence (AI).

How can the digital revolution of our times be used for human beings as best as possible and how can we cope with predictable misdevelopments? Human by Machine presents various design projects by students and alumni of the University of Applied Arts Vienna, which were created in exchange with students, and teachers of the Academy of Fine Arts and Design, Bratislava.

The Centre Pompidou reviews the work of Bernard Frize, an important French painter on the international artistic scene right from his early work in 1977. Known for his conceptual abstract paintings, Frize integrated figurative elements into his practice in the 1980s and also developed an interest in photography.

Fra Angelico and the Rise of the Florentine Renaissance, an exhibition sponsored by the Fundación Amigos del Museo del Prado, analyses the artistic importance of the early Florentine Renaissance between approximately 1420 to 1430, with a particular focus on the figure of Fra Angelico, one of the great masters of this period.

Melike Kara creates her painterly work along with writing poetry, and most recently with making sculpture, video and other mediums. In her works on canvas, especially, she has developed a pictorial range of characters communicating with each other through what appears to be body language and whispers. These figures can often be characterized as ungendered, and of a nondescript time and place. Their dress, if at all, blends with their skin, which appears to be made of armor. Her primary medium for her works on canvas has been, for years, thick oil pastels. She regularly chooses one color and its hue variations to paint these figures, more recently, the palette of each of her paintings includes two to three more colors, but no more.

This solo exhibition presents three distinct kinds of work—and worlds—created by Castillo Deball in the past decade. They strike a balance between material folds and unfolding ideas, whereby multiple senses of time are experienced in the blank spaces of a drawing, in the negative space of sculpture, or in the wrinkles of a surface. For years, Castillo Deball’s work has consistently manifested the ways in which the passage of time is illustrated, organized, and expressed in nature as much as in artifice.

Cecilia Vicuña, a retrospective exhibition brings together over a hundred works by the poet, visual artist, and activist Cecilia Vicuña. Since the 1960s, the artist has constituted a radical perspective on the relationship between art and politics through her writing and art making. She has done so in different parts of the world, leaving her native Chile for London in 1973, before basing herself in the United States since 1980.

From his very beginnings in the late 1980s, Rudolf Stingel (*1956) has approached painting in a conceptual and self-reflexive manner, exploring its possibilities and media-specific limits through the interplay of artistic strategies, materials and shapes.

Dorit Margreiter’s artistic interest is in the connections between visual systems and spatial structures and the consequences for our everyday lives and societies. The focus is on modern and contemporary architecture and forms of media representation. For her solo show at mumok Dorit Margreiter will transform the complete exhibition gallery into an artistic installation including the display and exhibition architecture, films, mobiles, and photographs.

Of all the art movements of the 1950s and 1960s, op art has hitherto received the least attention. Often it is denigrated as being too spectacular and superficial. This is a misconception—this art sharpens our awareness of the ambiguity of appearances and illustrates the impossibility of grasping “reality.” Under the title Vertigo, mumok presents a deceptive game of the senses, presenting a wide spectrum ranging from panel paintings, reliefs, and objects to installations and experiential spaces, to film and computer-generated art.

On the occasion of the 50th edition of the Poetry International Festival, the Kunsthal is presenting the exhibition ‘What Happened to the Future?’. In their work, the artists Vera van de Seyp and Yara Veloso explore the boundaries of new media. Especially for this anniversary exhibition, they dived into the Poetry International archives and selected work by poets who once appeared on the festival stage.

The Italian Giovanni Battista Piranesi (1720–1778) is considered to be the greatest print artist of his time. For the first time in a decade, a large Piranesi exhibition will be shown in the Netherlands. The Kunsthal is presenting over seventy large-format prints by Piranesi from the impressive graphic art collection of Museum Boijmans Van Beuningen. As an artist, Piranesi became known in the eighteenth century for his ‘Vedute di Roma’, an extensive series of etchings of impressive views of the ruins and monuments of Rome. In his famous series of prints featuring imaginary prisons, the ‘Carceri d’Invenzione’, Piranesi – who was originally an architect – expressed his spatial fantasies. Prints of rare quality are shown from both these series, as well as eight colossal books that highlight the dizzying imagination of Piranesi – as an artist, researcher and designer. This exhibition is part of a series of three exhibitions at the Kunsthal in the context of the city-wide project ‘Boijmans Next Door’.

The first-ever artist-curated exhibition mounted at the Guggenheim celebrates the museum’s extensive collection of modern and contemporary art. Curated by Cai Guo-Qiang, Paul Chan, Jenny Holzer, Julie Mehretu, Richard Prince, and Carrie Mae Weems – artists who each have had influential solo shows at the museum – Artistic License brings together both well-known and rarely seen works from the turn of the century to 1980.

For her first institutional solo exhibition in Europe, Dora Budor (* 1984) investigates the architectural history of Kunsthalle Basel and its surroundings in order to use sound, dust, and environmental data from dissonant temporalities to create an evolving “score” for her exhibition.

A major exhibition by the artist who combines industrial and everyday materials to create immersive environments and creature-like sculptures.

Shown in the large exhibition halls of the K20 – for the first time together in a single exhibition and in their complete forms – are the two key works “Straight” (2008 – 2012) and “Sunflower Seeds” (2010).

From gastronomic experiments to urban farming, this exhibition brings together the politics and pleasure of food to ask how the collective choices we make can lead to a more sustainable, just and delicious food future.

Caroline Achaintre is presenting new work in a site-specific exhibition at the Belvedere 21. This solo show provides an insight into the wide-ranging oeuvre of the Franco-German artist who uses traditional techniques like tapestry, drawing and ceramic in an unconventional way.

From a one-man business to a global enterprise: We reflect on 200 years of furniture design as illustrated by the history of family company Thonet. The groundbreaking achievements of the early period – new technologies, new design methods, new distribution and marketing channels – are juxtaposed to developments in the 20th and early 21st century. The firm founded in 1819 by Michael Thonet, a master cabinet-maker from Boppart, evolved down through the decades into one of the most important makers of bentwood furniture. Its “No. 14” continues to be one of the most popular chairs to this day and is still produced in large numbers. In the late 1920s, Thonet turned its attention to tubular steel furniture and teamed up with several Bauhaus designers who created chairs in what was then an innovative technology. As these tubular steel furniture items and the early bentwood furniture have long been part of the permanent exhibition at Die Neue Sammlung, the focus of the current presentation is on the pioneering creations by modern designers from Eddie Harlis via Verner Panton through to Norman Foster, Stefan Diez, Konstantin Grcic and – most recently – Sebastian Herkner. For the design of the exhibition we were […]

The “Wyspiański. Afterword” exhibition will show new, little known works of The Wedding’s author and his students – inheritors of his ideas.

Autor pokračuje v otváraní historických a sexuálnych tabu, v materializovaní skúsenosti a historickej pamäte sudetských Nemcov, ktorá sa najviac odrážala v oblasti návrhu rodinného domu, v záhradnej architektúre, či pri ochrane pamiatok. Výstava plánuje byť výpravným príspevkom k romantickej moderne, k jednej jej lokálnej verzii so všetkými politicko-historickými dôsledkami a miniatúrnymi detailami.

Gustave Caillebotte (1848–1894) was one of the central figures of French Impressionism, yet he is among those artists who remain to be discovered today. His fame was initially founded on his role as a patron, and only later did he gain full recognition as a painter.

Painting is one of the disciplines encompassed by the Theatre of Orgies and Mysteries of Hermann Nitsch. His approach to this art form is deeply rooted in actionism, performance, and multimediality. Painting represents both the origin and the outcome of Nitsch’s actions. And with the exhibition NITSCH. Spaces of Color, the ALBERTINA Museum now aims to allow Nitsch’s painted works to be perceived not as part of a greater whole, but as paintings in and of themselves for the first time.

An artistic exploration by Jeremias Altmann and Andreas Tanzer.

A strong relationship connects one of the most important French artists of the postwar period, Jean Dubuffet, to the city of Venice.

The exhibition follows the trajectory from the pioneers of the so-called »Golden Age« of Danish art (Christoffer Wilhelm Eckersberg, Christen Købke, Wilhelm Marstrand), to representatives of the National Romantic style, who primarily explored the beauties of their own country (Johan Thomas Lundbye, Peter Christian Skovgaard, Vilhelm Kyhn), to the Fynboerne, or Funen Painters, who practiced open-air painting on the Danish island of that name (Peter Hansen, Johannes Larsen, Fritz Syberg). Finally, paintings by Theodor Philipsen, a close friend of Paul Gauguin, will illuminate the signature aspects of Danish Impressionism.

Take a trip through a history of visions and fascination, in the company of prehistoric, modern and contemporary icons! From theMammouth de la Madeleine to Dove Allouche and Louise Bourgeois, this unique exhibition showcases the link which unites prehistory to modern and contemporary art.

With works by: Peter Aerschmann, M.S. Bastian & Isabelle L., Babette Berger, Heinz Brand, Balthasar Burkhard, Vincent Chablais, Dimitra Charamandas, Quynh Dong, Marianne Engel, Esther Ernst, Gabi Fuhrimann, Mireille Gros, Maia Gusberti, Jerry Haenggli, Thomas Kneubühler, Tomas Kratky, Alois Lichtsteiner, Christian Lindow, Ingeborg Lüscher, Urs Lüthi, Heinz Mollet, Jürg Moser, Victorine Müller, Sadhyo Niederberger, Pat Noser, Adela Picón, Vaclav Pozarek, Ilona Ruegg, Claude Sandoz, Albrecht Schnider, Leopold Schropp, Irene Schubiger, Dominik Stauch, Andreas Tschersich, Rolf Winnewisser, Uwe Wittwer, Thomas Woodtli, Martin Ziegelmüller.

The concept of pendulums – be they suspended lamps or swinging metal ellipsoids – is a central feature of Ingo Maurer’s oeuvre that enables him to mobilize light using simple means. Since time immemorial people have been fascinated by the archaic shape of the egg and its perfect design. The swinging pendulum is one of nature’s physical phenomena that already provided orientation to the Ancient Egyptians. Watching a pendulum is one of the kinetic experiences with a positive impact on our well-being thanks to its regular and calming motion. It is this combination of the egg’s harmonious shape and the comforting quality of the “Pendulum” that informed Ingo Maurer’s pendulum – it offers us a new spatial experience whether it is in motion or not.

At once tender and unsettling, the films, sculptures, installations, and performances of Geumhyung Jeong (* 1980) are often studies in animism of some sort. For her first solo exhibition in Switzerland, the South Korean artist and choreographer focuses her attention on the erotics of technical animism. She creates a large-scale installation comprised of numerous robotic sculptures built from DIY technologies and short films demonstrating the strange choreographies to which she subjects her “homemade” bodies.

The Hittite empire, a great rival power of ancient Egypt, ruled over Anatolia and held sway over the Levant until about 1200 BC. Its demise gave rise to Neo-Hittite and Aramean kingdoms in modern-day Turkey and Syria, heirs of the political, cultural, and artistic traditions of the fallen empire. The exhibition invites visitors to rediscover the mythic sites of this forgotten civilization, such as the majestic remains of the Tell Halaf site, located near the current Turco-Syrian border.

Sydney Shen (b. 1989, Woodbridge, NJ) creates sculptures and installations that evoke a sense of abject dread. Informed by a range of historical and contemporary sources—including Peking opera, supernatural horror fiction, and the darkest recesses of the web—Shen frankensteins organic and synthetic materials such as Chinese and Western medicinal aromatics, 3-D-printed plastic, and biological specimens to produce uncanny environments.

The exhibition Fazit is the prelude to an artistic project of the same name by realities:united. As the big, centralised thermal power stations start closing down in Germany, their artistic potential is explored with a view to accompanying industrial, cultural and social change. The proposal: Power stations still in operation during this stage should be modified so that instead of only producing energy and pollutants, they emit signals into the air, visible from afar, to symbolise and inspire this transformation.

Step inside the world of Stanley Kubrick, one of the greatest filmmakers of the 20th century.

How is nature presented in contemporary art? And how are humans interpreted as relating to other species? The Coexistence exhibition opening in April 2019 looks at the relationship between humans and nature. Environmental issues, nature, and human coexistence with other organisms are topics of long-standing interest in art, but they have recently come into sharper focus amid the eco-crisis of the 2000s.

With The Black Image Corporation, Theaster Gates has conceived a participatory exhibition which explores the fundamental legacy of Johnson Publishing Company archives. Featuring more than four million images, they have contributed to shape the aesthetic and cultural languages of African American identity. Central to the exhibition are the works of two photographers, Moneta Sleet Jr. and Isaac Sutton, who both worked for Johnson Publishing.

On the occasion of the symbolic loan by Romania of King Stephen the Great’s “Battle flag of Saint Georges,” this exhibition seeks to highlight the exceptional character of Romanian collections of embroidery of Byzantine tradition, jewel of both Romanian and universal heritage. Around the masterpiece that Stephen the Great (1457–1504) offered to the Zograf Monastery on Mount Athos, which was solemnly handed over by France to the Romanian state in 1917, a number of extraordinary works will illustrate the remarkable development of embroidery of Byzantine tradition in Romania from the mid-15th to the mid-17th centuries. Inherited from Byzantium, the embroidered ornamentation of the “sacerdotal vestments” of bishops, priests and deacons, and that of the “liturgical vestments” intended for worship will be exhibited alongside an unrivalled collection of royal tombstone covers, upon which the hieratic character of Byzantine images was ultimately supplanted by the appeal of portraiture.

The central theme of the new setting-up of the architecture collections is the evolution that the concept of inhabiting has been undergoing since the aftermath of the Second World War, analysed through the works of the great masters of the 20 th century and the new emerging figures in the landscape of international architecture. The setting-up of the exhibition is based on the overlapping of various paths and links the various scales of the act of inhabiting, from the individual to the collective, with specific reference to the more complex and hybrid experiences that bear witness to the new relationships between individuals and communities. The constant dialogue between masters and young architects, made possible by their works, provides a further interpretation.

Over a career spanning more than six decades, Arp produced a remarkably influential body of work in a rich variety of materials and formats. (…) The exhibition brings to Palazzo Venier dei Leoni more than 70 works—sculptures in plaster, wood, bronze and marble, painted reliefs in wood, collages, drawings, tapestries and books—from European and American institutions and private collections.