Gundlach-Sammlung bleibt bis 2046 in den Deichtorhallen
The Hamburg Senate has announced a 20-year extension of the loan agreement for the F.C. Gundlach Collection at the Deichtorhallen. The prominent photography collection, which has grown to 14,000 works, will remain in the institution's 'Haus der Photografie' until 2046 and will receive a dedicated exhibition area on the first floor.
New York City’s museum landscape is entering a major spring season characterized by high-profile retrospectives, institutional reopenings, and the 82nd Whitney Biennial. Key highlights include a massive Raphael survey at the Metropolitan Museum of Art featuring over 200 works, the reopening of the expanded New Museum with a tech-focused exhibition on the future of humanity, and a major survey of sculptor Carol Bove at the Guggenheim. The season also features thematic shows exploring American folk art, Dutch Golden Age masterpieces, and the relationship between Frida Kahlo and Diego Rivera.
The American Library Association (ALA) and the American Federation of State, County and Municipal Employees (AFSCME) have reached a settlement with the Trump administration to restore the Institute of Museum and Library Services (IMLS). The agreement follows a year-long legal battle sparked by an executive order that placed the agency's entire staff on administrative leave and attempted to dismantle the federal body. The settlement ensures the IMLS can resume awarding grants, conducting research, and operating programs while reversing previous staff terminations and grant cancellations.
Les catalogues d’expositions imprimés en Chine
Le Journal des Arts reports on several developments in the art world: the return of American Rousseau works to Paris, the growing trend of outsourcing museum reception services, the New Museum's expansion, challenges facing the Musée des tissus, and Art Brussels adapting to contemporary trends. These stories cover a range of topics from exhibition logistics to institutional change.
Legislation to advance the construction of the Smithsonian American Women’s History Museum in Washington, DC, failed in the House on May 21 after Democrats rejected amendments added by Republicans. The bill, introduced by Republican Representative Nicole Malliotakis, was defeated 216-204, with six Republicans joining Democrats in opposition. Key changes included language specifying the museum would honor only “biological women” and explicitly barring the depiction of any “biological male as a female,” which critics said would exclude transgender women. Other provisions would have given President Donald Trump unilateral authority to choose an alternative site for the museum, originally planned for the National Mall, and granted approval power over design and construction to commissions controlled by Trump appointees.
Dozens of artists participating in the 2026 Venice Biennale have withdrawn from consideration for the newly created Visitor Lion awards, replacing the traditional Gold and Silver Lion prizes. A total of 57 artists from the main exhibition and 22 national pavilions signed a statement published on e-flux on May 9, acting in solidarity with the five-person prize jury that resigned on April 30 over the continued participation of Russia and Israel. The jury had objected to awarding prizes to artists from countries whose leaders face International Criminal Court charges, including Russian president Vladimir Putin and Israeli prime minister Benjamin Netanyahu. In response, the Biennale organizers postponed the awards ceremony to November 22 and introduced visitor voting, a move they described as consistent with openness and dialogue. Meanwhile, the Russian Pavilion, which returned after lending its space to Bolivia in 2024, faced protests, closure after previews, and a €2 million funding pull by the European Union for the 2028 Biennale.
Several national pavilions at the 2026 Venice Biennale shut down during the final preview day in a strike organized by the Art Not Genocide Alliance (Anga) protesting Israel's inclusion due to its war in Gaza. Pavilions from Belgium, the Netherlands, Austria, Japan, Macedonia, and Korea closed entirely, while others like Britain, Spain, France, Egypt, Finland, and Luxembourg partially closed or reopened later. Artists in the main exhibition added Palestinian flags and posters reading "Palestine is the future of the world." The Israeli pavilion was closed for a private event, and earlier in the week Pussy Riot staged a protest at the Russian pavilion.
The Pinchuk Art Centre in Kyiv has transformed its Venice Biennale presentation from a glamorous celebration of young artists into a somber exhibition responding to the Russian invasion of Ukraine. This year's show, titled "Still Joy — From Ukraine into the World" (9 May-1 August) at the Palazzo Contarini-Polignac, features works by international artists like Tacita Dean and Julian Charriere alongside Ukrainian artists, as well as testimonials from soldiers collected by former marine Hlib Stryzhko. The exhibition explores how joy can persist amid trauma, with installations including pink scrolls bearing survivors' quotes, light box photographs of bombed interiors with rescued pot plants, and a sculpture of bells with displaced women's fingerprints.
The 2026 Venice Biennale is defined by themes of ruin and decay, with standout national pavilions exploring bodily, infrastructural, and archaeological collapse. The Slovenian Pavilion features the Nonument Group repurposing materials from past Biennales into a ruin of a mosque for Bosnian Muslim soldiers from World War I. Syria presents its first national pavilion since the Civil War, with Sara Shamma invoking Palmyra, destroyed by ISIS. Germany's pavilion, titled "Ruin," features works by Henrike Naumann (who died in February) and Sung Tieu, questioning the pavilion's fascist architecture and nationalist residue. The Austrian Pavilion, curated by Florentina Holzinger, offers a visceral performance titled "Sea World." The Biennale is also marked by the abrupt resignation of its five-member jury, who refused to consider nations charged with crimes against humanity, leading to awards being chosen by public vote. Additionally, the main exhibition "In Minor Keys" was affected by the death of its curator, Koyo Kouoh.
The article is a diary entry from the 2026 Venice Biennale, focusing on the exhibition "In Minor Keys" curated by the late Koyo Kouoh. The author describes an emotional experience, beginning with a poem by Refaat Alareer on the Arsenale wall, and highlights works by Guadalupe Maravilla, Alexa Kumiko Hatanaka, and others that address themes of perseverance, healing, and survival. Maravilla's sculptures reference a child kidnapped by ICE, while Hatanaka's linocuts explore bipolar disorder as an adaptive trait. The show also features artist-led collectives like Denniston Hill and fierce pussy, emphasizing institution-building and world-making.
The Art Not Genocide Alliance (ANGA) has announced a 24-hour strike and rally on May 8, the day before the 2026 Venice Biennale opens to the public, in protest of the Israeli Pavilion. ANGA, formed in opposition to Israel's inclusion in the 2024 Biennale, refers to the current Israeli presentation—featuring Haifa-based artist Belu-Simion Fainaru—as the "Genocide Pavilion." Over 200 artists, curators, and culture workers have signed an open letter demanding Israel's exclusion, and a separate action called Solidarity Drone Chorus involved 60 artists. ANGA is collaborating with local labor and culture organizations including Biennalocene, Vogliamo Tutt'altro, S.a.L.E. Docks, and Mi Riconosci.
Austrian artist Florentina Holzinger has created 'Seaworld Venice,' an immersive and confrontational installation for the Austrian Pavilion at the 2024 Venice Biennale. The work explores climate change, technology, and a dystopian flooded future, drawing comparisons to the 1995 film 'Waterworld'—though neither Holzinger nor curator Nora-Swantje Almes had seen it. Known for extreme performance art involving nudity, blood, live piercing, and heavy machinery, Holzinger's previous works have caused audience members to faint or require medical treatment. The pavilion marks a significant platform for her radical, hybrid practice that blends theatre, dance, opera, and performance art.
Fotografia Europea, the international photography festival in Reggio Emilia, Italy, has opened with 20 exhibitions and related events under the theme 'ghosts of the moment'. The festival features works by artists including Tania Franco Klein, Giulia Vanelli, Felipe Romero Beltrán, and Salvatore Vitale, exploring themes of memory, migration, identity, and the unseen forces shaping contemporary life. The festival runs until 14 June 2026.
Cultural strategist András Szántó has published the third and final volume of his trilogy on the future of museums, titled *What Is the Future of the Art World?*. The book features dialogues with a wide range of art-world figures—including gallerists José Kuri and Atsuko Ninagawa, collectors Alain Servais and Sylvain Levy, artists William Kentridge and Holly Herndon & Mathew Dryhurst, curator Fatoş Üstek, network scientist Albert-László Barabási, former Art Basel director Marc Spiegler, and Sheikha Al-Mayassa Al Thani—who discuss topics such as the definition of the art world, its rules, and its future trajectory. Szántó notes that there is no consensus on whether the art world is still expanding or entering a phase of slowdown, with different regions moving on divergent paths.
The jury of the 2026 Venice Biennale has ruled that Israel and Russia will be ineligible for the Golden and Silver Lion prizes, citing International Criminal Court charges of crimes against humanity against their leaders. The decision follows years of activism and political pressure, with the European Union withdrawing €2 million in funding from the event in protest of Russia's participation. While groups like Art Not Genocide Alliance praised the move as an unprecedented step, critics argue it falls short of a full ban on participation. Israel's artist representative, Belu-Simion Fainaru, condemned the policy as discriminatory, and an open letter signed by 70 artists and curators called for excluding all regimes committing war crimes, including the United States.
Kent County Council, led by the Reform party, has removed and sold Antony Gormley's early public sculpture 'Two Stones' (1979-81) from outside the Kent History and Library Centre in Maidstone. The council sold the work back to the artist himself in a private sale to raise funds, citing severe financial pressures and a need to avoid increasing costs for residents. The council's most recent accounts valued the work at £859,000, but the final sale price remains confidential.
Marcel Duchamp transformed the trajectory of 20th-century art by introducing the 'Readymade,' a concept where mass-produced, everyday objects are elevated to the status of art through the artist's selection rather than manual craft. Beginning with a bicycle wheel in 1913 and a bottle rack in 1914, Duchamp eventually formalized the term during a 1915 stay in New York, where the city's industrial modernity and lack of rigid class structures inspired him to challenge traditional definitions of creativity.
The U.S. Latinx Art Forum (USLAF) has appointed artist, archivist, and curator Josh T. Franco as its new executive director, succeeding founding director Adriana Zavala. Under Franco’s leadership and alongside newly promoted deputy director Mary Thomas, the organization is shifting its mission toward fostering "convivial spaces" and organic networking. This new phase includes hosting intimate dinners across major cities to connect artists with supporters and planning a major touring exhibition featuring the 75 recipients of the Latinx Artist Fellowship.
Prominent Ukrainian artist Nikita Kadan is launching a new exhibition titled 'A New Integrity' at Pavilion 13 in Kyiv. The installation features prostheses suspended in mid-air, accompanied by a soundscape of recorded testimonies from veterans who have experienced limb loss during the ongoing Russian invasion. The project, commissioned by the non-profit RIBBON International, uses these mechanical replacements to symbolize the broader losses of territory, people, and future perspectives that Ukraine has endured.
Kong Lingyi has been appointed as the new CEO of the UCCA Center for Contemporary Art in Beijing, succeeding Philip Tinari who stepped down shortly before the Lunar New Year. A veteran of the institution since 2012, Kong previously served as vice president of brand and is now tasked with overseeing UCCA’s multiple branches in Beijing, Beidaihe, and Yixing. Her leadership marks a shift toward a new management structure focused on institutional sustainability and public accessibility.
Artist Josh Kline’s recent essay on the devastating impact of New York City’s real estate market on the arts has sparked a heated debate regarding the city's future as a creative hub. While Kline argues that the 'polycrisis' of high rents and student debt is stifling artists born after 1975, this response critiques his generational focus, suggesting that the struggle for affordability is a structural issue affecting artists of all ages, particularly those from marginalized backgrounds who have faced these barriers for decades.
Photographer Paul Tulett has captured the stark, concrete landscapes of South Korea in his new book, *Brutalist Korea*, published by Prestel. The photo series highlights a range of architectural landmarks, from Tadao Ando’s minimalist Jeju Glass House and Zaha Hadid’s futuristic Dongdaemun Design Plaza to the playful geometry of the Paju Kindergarten. Tulett’s work documents how the raw, monumental aesthetic of Brutalism has evolved from the country’s postwar industrialization into a sophisticated tool for modern urban experimentation.
Egidio Marzona, the influential German-Italian collector, publisher, and patron, has died at the age of 81 in Berlin. Renowned for his intellectual approach to collecting, Marzona focused on the 20th-century avant-garde, including movements such as Bauhaus, Dada, Fluxus, and Arte Povera. Unlike traditional collectors, he prioritized the preservation of archives, letters, and ephemera alongside physical artworks, viewing the "paper trail of ideas" as essential to understanding artistic history.
James and Kathryn Murdoch, through their respective organizations Lupa Systems and Futurific, are partnering with MCH Group, the parent company of Art Basel, to create a new major festival called the Futurific Institute. The event, set to launch in Basel, Switzerland in the summer of 2028, aims to be a cross-disciplinary gathering focused on art, culture, technology, and future-oriented problem-solving, drawing comparisons to world's fairs and events like TED Talks.
The advisory board of Chicago's DePaul Art Museum has sent a strongly worded letter to DePaul University leadership, condemning the decision to permanently close the 40-year-old museum on June 30. The letter, signed by board chair Scott J. Hunter and members including artists Brendan Fernandes and former Expo Chicago head Tony Karman, expresses "anger, frustration, and deep sadness" over the abrupt closure and the university's unilateral plans for the museum's 4,000-object collection.
Boston's Midtown Hotel has sparked outrage after decorating its newly renovated space with AI-generated artwork that mimics Andy Warhol's style to depict local celebrities like David Ortiz and Barbara Walters. Guest Alex Steed publicly criticized the hotel on social media, noting the art's uncanny valley quality and the placard proudly stating the works were entirely created by artificial intelligence. The complaint went viral, drawing thousands of views and comments condemning the hotel for choosing AI over hiring local artists in a city known for its art schools and museums.
Bose Krishnamachari, artist and co-founder of the Kochi Biennale Foundation (KBF), has abruptly resigned, citing pressing family reasons. His departure comes during the 6th edition of the Kochi-Muziris Biennale, titled “For the Time Being,” which opened December 12, 2025, and runs through March 31, featuring 66 artists from over 20 countries. The biennial has faced multiple controversies since its 2012 debut, including financial mismanagement, sexual harassment allegations, and a recent closure in January 2026 due to religious protests over a painting by Tom Vattakuzhy referencing the Last Supper.
India's Kochi-Muziris Biennale was forced to close briefly in late December 2024, just weeks after its mid-December opening, following protests by Christian groups over a painting of the Last Supper by artist Tom Vattakuzhy. The work was displayed not in the main biennial exhibition, “For the Time Being,” but in a side exhibition called “EDAM” at the Garden Convention Centre in Kochi. Christian organizations, including the Kerala Latin Catholic Association and the Syro-Malabar Church, condemned the painting as offensive and called for its removal, questioning the use of public funds. Vattakuzhy, who is from a Christian family, said he did not intend to offend and that the work was inspired by a play based on a poem about Mata Hari. The biennial's curators and president defended the work, refusing to remove it on grounds of censorship, and organizers announced the exhibition would reopen on January 2.
Christie's closed 2025 with $6.2 billion in projected global sales, a nearly seven percent increase from $5.8 billion in 2024 and in line with its 2023 total. Auction sales reached $4.7 billion, up eight percent year-over-year, while private sales held steady at $1.5 billion. The year's top lot was Mark Rothko's *No. 31 (Yellow Stripe)*, which sold for $62.1 million in New York. Other highlights include a record Picasso sale in Hong Kong ($25.4 million) and the Fabergé Winter Egg in London (£22.9 million). The house also saw strong performance from its automobiles business, Gooding Christie's, which delivered $234 million in sales. Geographically, the Americas grew 15 percent to $2.58 billion, while Asia-Pacific slipped 5 percent.
Australian architect Bianca Censori, known globally for her fashion and marriage to rapper Kanye West, debuted her first performance art piece titled "BIO POP" in Seoul. The 14-minute silent performance, staged over two days, features Censori baking a cake in a kitchen before pushing it to a living room filled with contortionists resembling her. The work is the first of seven planned performances over seven years, with future installments including "CONFESSIONAL (THE WITNESS)" and "BIANCA IS MY DOLL BABY (THE IDOL)."