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Seoul’s new Centre Pompidou Hanwha museum opens next month—can it live up to expectations?

Seoul's new Centre Pompidou Hanwha museum will open to the public on June 4, 2025, marking the Pompidou's second Asian branch after its collaboration with Shanghai's West Bund Museum. The four-year partnership between the Hanwha Foundation of Culture and the Centre Pompidou will feature two exhibitions per year from the Pompidou collection, starting with "The Cubists: Inventing Modern Vision." The museum occupies 11,000 square meters over four floors of Hanwha Group's 63 Building, with one gallery dedicated to early 20th-century European art and another to global contemporary art with a Korean focus, curated in-house. The inaugural Korea Focus section includes local artists such as Kim Whanki and Yoo Youngkuk.

Gabrielle Goliath’s "Elegy" Comes to Venice

South African artist Gabrielle Goliath’s installation "Elegy" was initially censored by South Africa’s Culture Minister Gayton McKenzie, who blocked it from the country’s pavilion at the Venice Biennale over its focus on Palestinian grief. After public outcry and support from several organizations, the work was instead installed in a Venice church, where critic Aruna D’Souza describes it as "hauntingly beautiful and achingly tender." The article also covers related news: a smear campaign against British-Nigerian photographer Misan Harriman for his Palestinian solidarity, and a list of summer art books.

There Is No Separation. In Conversation with Alice Maher   by Frank Wasser

Alice Maher, one of several Irish artists at the 61st Venice Biennale, presents three works in the Arsenale as part of the group exhibition “In Minor Keys,” curated by the late Koyo Kouoh. Her presentation includes a reconstructed 1996 installation *Les Filles d’Ouranos*, a new series of drawings and sculptures titled “The Sibyls” (2025), and a collaborative textile piece *The Map* (2021) made with Rachel Fallon. In a conversation with Frank Wasser, Maher discusses the political conditions surrounding this year’s Biennale, including institutional resignations, debates over national representation, and the inclusion of the Israeli and Russian pavilions.