The Myth of Sandokan on Display in Monza Between History and Imagination. The Curators Speak

Il mito di Sandokan in mostra a Monza tra storia e immaginario. Parola ai curatori

A new exhibition titled "Sandokan. La Tigre ruggisce ancora" has opened at the Reggia di Monza, exploring the enduring myth of the fictional pirate Sandokan, who first appeared in Italian serialized fiction in 1883. Curated by Francesco Aquilanti and Loretta Paderni, the show brings together ethnographic materials, costumes from the 1970s television series, weapons, books, illustrations, and archival items, including the original Dayak collection donated by Sir Charles Brooke to the King of Italy. The exhibition traces Sandokan's evolution across literature, comics, film, and television, presenting him as a layered, ambivalent hero—both ruthless pirate and justice fighter—whose story remains relevant today.

Two exhibitions; one shared dialogue: Weyburn Art Gallery

The Weyburn Art Gallery in Saskatchewan is presenting a dual exhibition running through the end of June, featuring two complementary shows. The first, 'Omentum: A look into the Indigenous Experience of the 21st Century- Exhibition Series, 2019' by Nehiyawak-Métis artist John Brady McDonald, comprises ten paintings that address themes such as Missing and Murdered Indigenous Women, cultural appropriation, residential school legacies, and the murder of Colten Boushie. Each painting was personally named by an influential Indigenous figure, including Isaac Murdoch, Rosanna Deerchild, and Dr. Evan Adams. The second exhibition draws from the City of Weyburn’s Permanent Collection, showcasing works by Indigenous artists Michael Lonechild, Ken Lonechild, and Mike Keepness, which explore identity, place, and memory.

In Minor Keys: The 61st Biennale di Arte Venezia Opens Under Koyo Kouoh (1967–2025).

The 61st Biennale di Arte Venezia opens under the posthumous curatorial vision of Koyo Kouoh (1967–2025), the late Cameroonian-born curator who reshaped contemporary African and diasporic art discourse. The central exhibition, spanning the Giardini and Arsenale, features 111 participants including artists, collectives, and artist-led organizations from across the Global South, with works in textiles, film, sculpture, and performance that interrogate colonialism, migration, and ecological repair. The Biennale is also marked by a pronounced presence of African and diasporic narratives across national pavilions, including several first-time pavilions from the African continent.

"Dispossessions in the Americas" Confronts the Colonialism That Invades All Territory

The article reviews "Dispossessions in the Americas," a group exhibition at Wrightwood 659 in Chicago curated by Jonathan D. Katz and Eduardo Carrera. Featuring works from 1960 to 2025, the show examines colonial legacies in the Americas, focusing on the forced dispossession of land, culture, and language from indigenous, Afro-descendant, queer, and trans communities. The review critically questions how a polished, architecturally prestigious venue can coherently display art about socially voiceless communities without falling into voyeurism or fetishization of pain.

‘Close, yet distant': MMCA exhibition revisits Korea-Japan artistic ties since 1945

The National Museum of Modern and Contemporary Art (MMCA) in Gwacheon, South Korea, has opened a major exhibition titled “Art between Korea and Japan since 1945,” co-organized with the Yokohama Museum of Art. Running from May 14 to September 27, 2026, the show marks the 60th anniversary of normalized diplomatic ties between the two countries. Featuring some 200 works by 43 artists, including Zainichi artists and video art pioneer Nam June Paik, the exhibition traces eight decades of artistic exchange shaped by colonialism, war, division, and ongoing tensions. It previously opened in Yokohama, drawing over 37,000 visitors—significantly surpassing typical attendance—with strong interest from younger audiences.

"Consequences of being" at The FLAG Art Foundation by Daniel Belasco

Deborah Roberts presents her newest body of work in the exhibition "Consequences of being" at The FLAG Art Foundation, featuring eight canvases and nine mixed-media works on paper that blend collage, painting, and drawing. The works explore the postcolonial landscape of Europe and Africa, using fragmented imagery of Black children against stark-white backgrounds to address themes of colonialism, commerce, and identity. Key pieces include "Have a seat, this may take a while" (2025), which incorporates miniature sailing ships and a collaged tiara from Queen Elizabeth II, and "Hands in the air," which critiques racist packaging from a German ice cream company. The exhibition also includes a series of eight collages titled "Many thousands gone" and a sculptural edition, "Zuri," a ceramic bust with metallic glaze.

Frieze New York Opens Strong, But the Real Test Is Just Beginning

Frieze New York has opened with strong early sales, particularly in the Focus section, which is dedicated to emerging and underrepresented artists. This year's Focus prize was awarded to W Galería for its presentation of Seba Calfuqueo, a Mapuche artist whose work addresses colonialism, environmentalism, and gender identity through ceramic sculptures and hair-based materials. Her pieces are priced between $8,000 and $40,000, reflecting the market's growing interest in politically engaged contemporary art.

On the Somalia Pavillion

At the 2026 Venice Biennale, Somalia has established its first-ever national pavilion, commissioned by the Somali government to showcase the richness of Somali culture through the theme of Saddaxleey, a triadic form of Somali poetry and proverbs. The pavilion features works by Somali Swedish artist Ayan Farah, UK-based Somali Danish multidisciplinary artist Asmaa Jama, and Somali British poet Warsan Shire. However, a collective of queer Somali artists, curators, and culture workers called Warbixinta Cidda has publicly criticized the pavilion for overrepresenting the diaspora, selecting an all-male advisory board, and appointing an Italian co-curator instead of Somali curators, raising concerns about representation and neocolonialism.

A review of the 2026 Venice Biennale without naming a single artist

Una recensione della Biennale di Venezia 2026 senza nominare neppure un artista

This review of the 2026 Venice Biennale describes an exhibition that overcame dire circumstances—the death of curator Koyo Kouoh early in preparations, losses of key artists, and international political controversies—to deliver a surprisingly joyful and engaging show. Titled "In Minor Keys," the Biennale features a well-conceived, flowing presentation across the Giardini and Arsenale that prioritizes beauty, craftsmanship, and hope over a punitive or documentary tone.

Writer-artist Nia Zera's work draws parallels between Africa countries and Dravidian communities

Writer-artist Nia Zera recently opened her exhibition "Cobalt Blue" in Chennai, featuring 31 paintings on shaped wooden panels that draw parallels between Dravidian communities in south India and African cultures. The works explore shared histories of resource wealth and colonial exploitation, inspired by Karen Blixen's 'Out of Africa' and Zera's own upbringing near the Muthuvan Kudi community in Munnar, Kerala. The exhibition took one year and one month to complete, using a predominantly blue palette referencing cobalt and blue-green algae from Africa.

Artist explores shifting perspective on family story

Artist Avi Amesbury has opened her new exhibition, 'Shifting Perspectives: The Self Reconciliation Project', at Bundaberg Regional Art Gallery in Australia. The show combines ceramics, mixed media, and sound to explore her personal family history as a descendant of white settler colonists in Western Australia. Over three years, Amesbury traveled across the country for residencies at Fremantle Arts Centre and Central Craft in Alice Springs, collecting wild clays and collaborating with composer MJ from Those Who Ride With Giants to incorporate poems, writings, and landscape sounds into the installation.

月を射る @ KAG

KAG in Tokyo is presenting a group exhibition titled "月を射る" (Shooting the Moon), running from May 19 to August 16, 2026. The show takes its starting point from a prose poem of the same name by Korean poet Yun Dong-ju (1917–1945), who wrote it in 1939 under Japanese colonial rule and later died in a Fukuoka prison. The exhibition spans pre-war and wartime educational films, propaganda, performance, and contemporary fieldwork, featuring works by artists such as Inoue Kan (Lee Byung-woo), Choe Seung-hui, Kamei Fumio, Yoshimi Yasushi, Atsugi Taka, Fujii Hikaru, Yamamoto Seiko, T.T. Takemoto, Morita Reine, Gataro, and Shirakawa Masao. It examines the management models formed by the former empire and the spiritual structure of colonialism that underlies contemporary issues, centering on works that carry the "memory of censorship"—banned, deleted, or denied existence by national, administrative, or social norms.