Können Drohnen auch Segen bringen?
Cao Fei's exhibition "Dash" at the Fondazione Prada in Milan explores how drones and agricultural robots are transforming landscapes in China and Southeast Asia, and how spiritual beliefs adapt to high-tech farming. The show features rituals such as monks blessing drones and farmers offering incense and fruit to their machines, illustrating the coexistence of tradition and technology.
Was kommt nach dem Edelkitsch?
Pierre Huyghe, whose recent Berlin exhibition of "Liminals" at Berghain was harshly criticized as "Edelkitsch" (luxury kitsch), opens a comprehensive survey at the Fondation Beyeler near Basel. The show features new works including ants emerging from a wall, a blind pale worm-like robot, and an artificial breathing organ called "Apnea" in a sand-floored aquarium, all exploring the blurred boundaries between biological life and intelligent technology. A film work, "Camata," uses AI to continuously re-edit footage of machines circling a human skeleton in Chile's Atacama Desert, while other pieces reference post-apocalyptic landscapes and Fukushima's exclusion zone.
A Christie's auction in New York saw Jackson Pollock's "Number 7A" sell for approximately $181 million, contributing to a total of $1.1 billion in sales for the evening. The auction, covered by Vanity Fair and the New York Times, featured intense bidding between figures like Iwan Wirth and Alex Rotter, while names such as Jeff Bezos and Ken Griffin were speculated to be involved. Combined with sales from Sotheby's and Phillips, the week generated around $2.5 billion. Meanwhile, a separate controversy erupted in France over artist Claire Tabouret's new stained-glass windows for Notre-Dame Cathedral, with critics arguing they violate heritage protection laws. Additionally, the Fondation Beyeler faces allegations that a Cézanne watercolor in its current exhibition may be Nazi-looted art from the collection of Jewish paper wholesaler Gustav Schweitzer.
Der Schmerz hinter den Farben
Henry Taylor is the subject of a major exhibition at the Musée Picasso in Paris, where his monumental paintings addressing racism, poverty, hope, and pain are displayed in dialogue with art history. The article describes a key work featuring Martin Luther King Jr. in a park scene, with small adult-faced figures and a limousine of white men watching, highlighting Taylor's narrative style.
At Christie's spring auctions in New York, Jackson Pollock's painting "Number 7A" sold for approximately $181 million and Constantin Brancusi's sculpture "Danaïde" fetched around $108 million, both setting records. The works came from the estate of publisher S. I. Newhouse, who died in 2017. Christie's total sales for the evening exceeded $1 billion, while rival Sotheby's had sold several hundred million dollars' worth of art the previous week. Christie's enlisted actress Nicole Kidman to promote the Brancusi piece.
Ausstellung im Schloss Bellevue: Ansturm legt Server lahm
Berlin's Schloss Bellevue, the official residence of German President Frank-Walter Steinmeier, is being transformed into a pop-up art gallery from June 13 to 28 before undergoing a multi-year renovation. The exhibition, titled "Freiraum Kunst," features works by artists including Katharina Grosse, Wolfgang Tillmans, and Monica Bonvicini. However, the ticket booking system crashed due to overwhelming demand, causing delays and prompting the Akademie der Künste to work on resolving the technical issues, assuring the public that tickets are still available.
German painter Harald Metzkes has died at the age of 97 in Wegendorf, Brandenburg, surrounded by his family. His son, sculptor Robert Metzkes, confirmed the news to the German Press Agency. Metzkes, who grew up in East Germany, was a leading figure of the Berlin School of painting and resisted the official doctrine of socialist realism, instead creating a personal "world theatre" of harlequins, circus scenes, and theatrical figures inspired by Rembrandt, Velázquez, and Paul Cézanne. His best-known work includes "Der Abtransport der sechsarmigen Göttin." After training as a stonemason and studying at the Dresden Academy of Fine Arts, he worked as a freelance artist in Berlin, supporting himself with book illustrations. His work gained international attention when one of his paintings was sent to the Venice Biennale in 1984, and after the fall of the Berlin Wall he built connections with Western collectors.
The article examines a peculiar three-seat sofa called the "Indiscret" on display in the Louvre, designed in 19th-century France under Napoleon III to force conversation among sitters. This "Conversation Chair" reflects an era when furniture was deliberately crafted to create social intimacy and control guest behavior, in stark contrast to modern public seating that often discourages lingering through hostile architecture.
Ab sofort kostenlose Karten für temporäre Schau im Schloss Bellevue
Berlin's Bellevue Palace, the official residence of German President Frank-Walter Steinmeier, will transform into a pop-up gallery for two weeks from June 13 to 28. Free timed-entry tickets become available from 3:00 PM on the website of the Akademie der Künste. The exhibition will feature works by artists including Katharina Grosse, Wolfgang Tillmans, and Monica Bonvicini, displayed in rooms emptied ahead of a multi-year renovation.
Auf High Heels ins Museum
The Los Angeles County Museum of Art (LACMA) closed its newly opened David Geffen Galleries just days after their official debut to host a Dior fashion show. The show, designed by Dior creative director Jonathan Anderson, featured a Cruise collection inspired by Hollywood glamour, with models walking through the museum's outdoor spaces amid vintage cars and historical lamps. The event highlighted the ongoing tension between the museum's architectural ambitions—Peter Zumthor's amoeba-like concrete structure has drawn both criticism and praise—and its use as a venue for luxury brand marketing.
"Die einen schreien Zensur, die anderen Antisemitismus"
A constitutional law scholar, Christoph Möllers, warns in an interview with Die Zeit about the dangerous escalation of cultural policy conflicts, sparked by Documenta 15, where accusations of censorship and antisemitism collide. In Poland, Adam Budak was removed as director of MOCAK in Krakow after just a few months, facing 79 allegations including mobbing and problematic leadership. Meanwhile, the New York spring auctions have launched, and Jason Farago's review of the Venice Biennale in the New York Times criticizes the shift from aesthetic innovation toward identity-driven art. Robin Pogrebin also reports on the merger of the Met and the Neue Galerie, described as a rare convergence of two museum models.
Valie Export, the pioneering Austrian media and performance artist, has died at age 85 in Vienna. Born Waltraud Lehner in Linz in 1940, she adopted the name Valie Export in the late 1960s, derived from a cigarette brand, and became internationally known for provocative works such as "Tapp- und Tastkino" (1968) and "Aktionshose: Genitalpanik." Her practice critically examined gender roles, power structures, and the representation of the female body through film, video, photography, and performance. She participated in major exhibitions including Documenta, the Centre Pompidou, and the Museum of Modern Art, and represented Austria at the Venice Biennale in 1980 alongside Maria Lassnig. She also taught as a professor of media and performance art in Berlin and Cologne, and the VALIE EXPORT Center opened in Linz in 2017.
Janiva Ellis presents a multifaceted exhibition at Kunsthalle Basel, exploring the history of violence in modernity through paintings that blend history painting, cartoon, and abstraction. Her works, including "Glint" and "Une nuit agitée," feature angels, hybrid creatures, and dystopian landscapes, questioning the origins and functions of violence in art history and society.
Munich's art festival "Various Others" kicks off this week with major city museums participating. The Pinakothek der Moderne presents "Reflexion," a group show of 100 works across fine art, architecture, graphic design, and design by artists including Isa Genzken, Ludwig Mies van der Rohe, Piet Zwart, and Ettore Sottsass. The Alexander-Tutsek-Stiftung celebrates its 25th anniversary with a glass-focused exhibition featuring Monica Bonvicini, Tony Cragg, and Laure Prouvost. The Villa Stuck reopens after renovation with four shows: Philipp Messner's sculptures, Ilit Azoulay's macro-film installation, a returning Franz von Stuck painting, and Delschad Numan Khorschid and Jan-Hendrik Pelz's migration-themed "Zehn Leben." The Lenbachhaus presents "Ein Ferngespräch. Szenen aus der Weimarer Republik" with works by Jeanne Mammen, Gabriele Münter, and Christian Schad. Museum Brandhorst's "Carrying" addresses the history of the Maxvorstadt art district, once site of a military barracks built by Ottoman prisoners. The Eres Stiftung continues "Seeing the Unseen" on quantum physics. The Flux meeting space, designed by Morag Myerscough, moves indoors at the Pinakothek der Moderne.
The 61st Venice Biennale opened on Saturday without ceremony or an opening celebration, amid political turmoil over the participation of Russia and Israel. Italy's Culture Minister Alessandro Giuli criticized Biennale director Pietrangelo Buttafuoco for not informing the government about Russia's participation request, suggesting it could have been used as leverage for a ceasefire in Ukraine. The entire jury resigned after attempting to exclude both Russia and Israel from prize awards, leading to the cancellation of the traditional jury decision in favor of a public vote, which over 70 participating artists have protested by withdrawing from this year's prizes. Separately, a rare photograph from the early 1940s has surfaced showing Lucas Cranach the Elder's painting "Venus with Cupid as Honey Thief" in Adolf Hitler's Munich apartment, raising unresolved questions about whether the work was looted from Jewish owners before 1935.
Monopol magazine is giving away 5 × 2 tickets to Marina Abramović's exhibition "Balkan Erotic Epic" at the Gropius Bau in Berlin. The show, which opened in 2025, explores erotic energy through Balkan myths, rituals, and folklore, combining new video works with historical pieces from the 1970s onward, including installations, sculptures, and live performances.
Anisabelle Berès-Montanari, a prominent Parisian gallerist, has died at age 78. Born in 1948, she joined the family business Galerie Berès in 1975, which was founded by her mother Huguette Berès in 1952. Over decades, she built the gallery's reputation through scholarly exhibitions on Japanese prints, Manet, the Nabis, and overlooked modern artists like Henri Laurens and Serge Férat. In 2019, she became the first woman president of the Syndicat national des antiquaires (SNA), serving until 2023. The gallery continues under her daughters Florence Berès-Montanari and Capucine Montanari-Fleury.
The Centre Pompidou-Metz has reported the disappearance of Maurizio Cattelan's "Comedian" banana from its exhibition. The museum notes that the banana is replaced every three days as part of the artwork's maintenance.
At Galerie Le Minotaure in Paris, Mathieu Mercier has curated a group exhibition revisiting the foundational principles of the Bauhaus. The show spans the gallery's two spaces on rue de Seine and rue des Beaux-Arts, featuring works by some fifty artists—from Elsa Werth's black-and-white dice trio to Jean Arp's collage, Luigi Veronesi's aniline-painted film, and pieces by Cécile Bart, Nicolas Boulard, David Malek, and Claude Closky. The exhibition is anchored by a single non-selling work: a Kandinsky ink-and-watercolor composition from the Dina Vierny collection, dating from the period when he formalized his theories in the Bauhaus treatise *Point and Line to Plane* (1926). The hang, arranged on-site without a preliminary model, emphasizes visual and conceptual associations over commercial value, with prices ranging from €100 to €300,000.
Le château de Compiègne poursuit sa modernisation
The Château de Compiègne, a historic French palace built for Louis XV and later frequented by Napoleon I and Napoleon III, is undergoing a major modernization program. Criticized in a 2024 report by the Cour des comptes (French Court of Auditors) for poor conservation conditions, the institution has launched a series of renovations. New period-room galleries opened in late March, displaying artworks from storage across six rooms evoking 17th- to 19th-century French taste. The restoration of the imperial library (2023–2025, €3 million) is complete, while work continues on the Louis-Philippe theater and future projects include a park facade restoration (by 2027–2028) and a complete overhaul of the Musée de la voiture, with total costs estimated at €38 million.
Nancy Graves (1939-1995), a major figure in American art who first gained recognition in 1969 at the Whitney Museum in New York, is the subject of a gallery exhibition presenting works from 1977 to 1990. Her multidisciplinary practice encompasses sculpture, painting, drawing, and film, drawing on scientific and cultural references. The featured works showcase an experimental approach based on layering, assemblage, and dynamic colors reminiscent of Abstract Expressionism, inspired by art history, archaeology, and her travels. Graves refused a fixed style, instead exploring the memory of forms and their reinterpretation in a free, layered visual language that is now being rediscovered.
François Morellet, les mathématiques et l’humour pour guides
The article reports on the national centenary celebration of French artist François Morellet (1926–2016), titled "100 x Morellet," which includes exhibitions, conferences, and symposia across France. The centerpiece is the exhibition "100 pour cent" at the Centre Pompidou-Metz, curated by Michel Gauthier, featuring 100 works spanning Morellet's entire career from 1941 to 2016. The show extends beyond the museum onto a wall of a nearby SNCF technical center, reflecting Morellet's affinity for public space. The exhibition is structured around the artist's dual nature—oscillating between the rigorous geometric order inherited from Piet Mondrian and the irrational, humorous spirit of Francis Picabia—showcasing his evolution from self-taught adolescent paintings to concrete art, Op Art, monochromes, and neon works.
Dubaï veut donner le change en annonçant un nouveau musée d’art numérique
Dubai has announced plans for a new Museum of Digital Art (MODA), designed by Adrian Smith + Gordon Gill Architecture, the firm behind the Burj Khalifa. The five-story museum will be located in the DIFC Zabeel District and feature permanent and temporary exhibitions, immersive experiences, educational spaces, and a digital twin for global access. The announcement comes amid regional turmoil, including Iranian missile and drone strikes on the UAE in March 2025 that damaged infrastructure, disrupted tourism, and reduced the 20th edition of Art Dubai from 120 galleries to just 50 stands.
Biennale de Venise : un Pavillon US silencieux
The US Pavilion at the 2026 Venice Biennale, featuring artist Alma Allen, opened to sparse crowds despite a 10% overall attendance increase at the Biennale. The pavilion was embroiled in controversy before opening: Allen was selected by the American Arts Conservancy (AAC), a private entity created in 2025 at the initiative of Donald Trump after the dissolution of the federal committee that previously oversaw the pavilion. AAC head Jenni Parido, a former pet food executive, chose the self-taught, little-known artist who had never had a solo museum exhibition. Major funders the Ford and Mellon Foundations withdrew, forcing the AAC to launch a public donation appeal. The exhibition features 25 abstract bronze, stone, and burl-wood sculptures that the artist describes as biomorphic landscapes, but critics find them pleasant yet silent, lacking the promised political or visceral resonance.
The Musée d'Orsay in Paris has opened a new dedicated gallery, Room 10b, to display works from its MNR (Musées nationaux Récupération) collection—artworks looted or acquired under dubious circumstances during the Nazi era. The room features detailed labels and educational texts, with some works shown verso to reveal provenance labels. The initiative is funded by the American Friends of the Musée d'Orsay and the Musée de l'Orangerie with €1 million over four years, and includes a fake Monet, a Degas subject to a restitution claim, a Rodin sculpture, and a debated Cézanne. The museum's provenance research team, led by Inès Rotermund-Reynard, collaborates with the French Ministry of Culture's M2RS mission.
The Louvre Museum in Paris has opened a major retrospective dedicated to Martin Schongauer (c. 1445–1491), the German engraver and painter from Colmar, bringing together a large portion of his known works. The exhibition features around one hundred pieces, including fifty engravings, five of his rare drawings, and nearly all of his attributed paintings—such as the "Virgin and Child at the Window" (c. 1480) from the Getty Museum and the "Orlier Altarpiece" (c. 1470–1475) from the Musée Unterlinden. The centerpiece is Schongauer's "Virgin of the Rose Bush" (1473), displayed at low height to reveal its botanical precision. Co-curated by Pantxika Béguerie De Paepe and Hélène Grollemund, the show also highlights Schongauer's influence on contemporaries and later artists through comparative works by Rogier van der Weyden and others.
This issue of Le Journal des Arts (n°676, May 2, 2026) covers a range of contemporary art news in France and internationally. Headlines include a critical look at the Whitney Biennial's perceived neutrality, the increasing complexity of art taxation in 2025, an interview with Bourges mayor Yann Galut about scaling down the Bourges 2028 project, the unveiling of a contemporary gallery at Angers Cathedral, the abandonment of the Frigos artists' site in Paris, and a profile of auctioneer Hubert L'Huillier.
La Biennale de Venise fait le plein
The Venice Biennale has reached full capacity, with all exhibition spaces and pavilions fully booked for the upcoming edition. The article reports on the overwhelming demand from participating countries and artists, highlighting the logistical challenges and the record number of national pavilions confirmed for the event.
Art Basel's flagship fair in Basel, Switzerland, is opening with 290 galleries from 43 countries, reinforcing its position as the premier global art market event. To maintain its appeal amid competition from its own Paris edition, the fair has introduced new initiatives including 'Basel Exclusive,' which requires select galleries to keep their top works secret until the VIP opening, and has opened its 'Unlimited' sector for monumental works to non-exhibiting galleries. The fair will also highlight artists from the Venice Biennale, such as Alma Allen (US Pavilion) and artists represented by Sfeir-Semler Gallery.
A new art center called BRUSK opened on May 8 in the historic heart of Bruges, Belgium, near the Groeningemuseum. Housed in a contemporary building by Robbrecht en Daem Architecten and Olivier Salens Architecten, it features a monumental fresco by Laure Prouvost titled "The Whispering Walls Rêve" and two temporary exhibition spaces. The inaugural show "Vision large" explores Bruges' medieval golden age, while a second space presents a generative AI installation by Refik Anadol. BRUSK also includes the BRON research center, storage for Musea Brugge's collection, and a public café.