Au Mémorial de Caen, les artistes africains font face à l’histoire de la colonisation

The Mémorial de Caen, a museum dedicated to World War II and the Cold War, has opened a new exhibition titled "(Dé)colonisations: des artistes africains interrogent l'histoire" (Decolonizations: African Artists Question History). Curated by Ayoko Mensah and Jean-Yves Marin, the show features 80 works by contemporary artists of sub-Saharan African origin, including Omar Victor Diop and Roméo Mivekannin. Swiss collector Jean Claude Gandur, who is building a foundation adjacent to the museum, lent 23 works, and his foundation's curator Olivia Fahmy helped organize the exhibition. The show is a prelude to a planned permanent section on colonial history at the memorial.

The Invincible Spirit of Edmonia Lewis

The Peabody Essex Museum in Salem, Massachusetts, has opened "Edmonia Lewis: Said in Stone," the first major retrospective of the 19th-century sculptor Edmonia Lewis, who was of Black and Indigenous (Mississauga-Tuscarora) descent. The exhibition displays 30 of her Neoclassical white marble sculptures alongside archival materials and works by other artists, organized into four thematic rooms that explore antislavery, Indigenous artistic worlds, her studios in Rome, and religion and mythology. Co-organized with the Georgia Museum of Art, the show emphasizes Lewis's dual heritage without conflating the two identities, featuring extensive text and quotes from the artist herself.

The Holy Spirit in a Rapture of Pain

Der Heilige Geist im Schmerzrausch

Florentina Holzinger's "Pfingstspiel" (Pentecost Play) is a multi-hour performance staged across two locations in Austria—the Wiener Eislauf-Verein in Vienna and Schloss Prinzendorf—as a satellite event to her contribution to the Venice Biennale. The work features extreme physical stunts, including a performer rappelling down a hotel facade, a car drifting with Holzinger on its roof, and a crucifixion scene, all drenched in blood, pain, and religious imagery. The performance, presented only once before 700 guests as part of the Wiener Festwochen, is described as a brutal, uncompromising marathon that pushes the boundaries of live art.

Bonollo Foundation explores the body and mind with two new exhibition projects

The Sandra and Giancarlo Bonollo Foundation for Contemporary Art in Thiene, Italy, has launched two new exhibition projects: the group show "Body in Motion" and a solo exhibition titled "Sanatorium" by Polish artist Tomasz Kowalski. Both opened on May 23, 2026, with "Body in Motion" running until November 7 and "Sanatorium" until September 30. "Body in Motion," curated by Chiara Nuzzi, features works from the Bonollo Collection by artists including Monica Bonvicini, Talia Chetrit, Sam Durant, Mona Hatoum, and others, exploring the body as a site of relationship, resistance, and identity. "Sanatorium," curated by Elisa Carollo, presents Kowalski's recent paintings that use the metaphor of a sanatorium to examine perception, memory, and the boundaries between imagination and reality, designed specifically for the foundation's space in a former religious and psychiatric complex.

Incheon's Crocat House hosts group exhibition featuring 6 Korean, global artists

Crocat House, a new cultural and arts complex in Incheon, South Korea, is hosting a group exhibition titled "Felt Seams — What the Tide Erases, the Body Holds," featuring six Korean and international artists. The show, curated by Korean artist Sung A Jang, explores themes of identity, memory, and the spaces between body and world, with works ranging from figurative sculptures to paintings. The exhibition opened on May 16, 2026, and includes artists such as John Shrader, who presented new sculptural pieces alongside earlier works.

Coalescence featuring Resident Artist Emily Lamb

Baltimore Clayworks presents "Coalescence," a solo exhibition featuring resident artist Emily Lamb. The show combines ceramics and glass into mixed-media sculptures that explore the human body and emotional states, with expressive figurative narratives emerging from the interplay of glass translucency and refined clay modeling. The exhibition runs daily through May 22, 2021, with free admission.