Victorien Bornéat : « De l’échec de la démocratisation culturelle est né un sentiment d’exclusion »

Victorien Bornéat has published a manifesto arguing that French cultural democratization policy, rooted in André Malraux's vision of making masterworks accessible to all, has failed. He cites budget cuts by regional presidents Laurent Wauquiez and Christelle Morançais, police raids on bookshops like Violette and Co, and statistical studies showing that working-class audiences still do not spontaneously attend theaters, museums, or opera. Bornéat contends that the policy's emphasis on direct confrontation with canonical works ignored the need for cultural codes and institutional literacy, creating an exclusion that politicians now exploit for electoral gain.

L’œuvre « indocile » du photographe Guido Guidi exposée au BAL

The article announces the exhibition of photographer Guido Guidi's work at Le BAL in Paris, curated by Simona Antonacci, Pippo Ciorra, and Antonello Frongia, with scenography by Cyril Delhomme. The show, titled "Col tempo, 1956-2024," runs from February 20 to May 24, 2026, and was previously presented in a larger version at the MAXXI museum in Rome. Guidi, now 85, is described as the last of a generation of Italian photographers—alongside Luigi Ghirri and Ugo Mulas—who radically redefined photographic language through patient, obstinate reflection on the act of seeing.

Comment un père et sa fille ont dupé le marché de l’art avec de faux Picasso et Banksy

A Polish father-daughter duo, Erwin Bankowski (50) and Karolina Bankowska (26), orchestrated a major art forgery scheme between 2020 and 2025, selling over 200 fake artworks attributed to Andy Warhol, Banksy, Pablo Picasso, Andrew Wyeth, and others through top auction houses and galleries in New York and across the United States. They pleaded guilty in federal court in Brooklyn to conspiracy to commit wire fraud and misrepresentation of Native American goods, facing up to 20 years in prison, with sentencing set for August 5. The fakes, produced by an unidentified Polish artist, were sold for at least $2 million, with the highest known sale being a fake Richard Mayhew landscape that fetched $160,000 at DuMouchelles in Detroit.

Quelques œuvres choisies au gré des 6 salles d’exposition

The article presents a thematic tour through six exhibition rooms dedicated to still life painting, focusing on works by Giorgio Morandi and Pablo Picasso. Each room explores a different conceptual angle: the grammar of objects in Morandi's metaphysical still lifes, the poetic dimension of Picasso's cubist compositions, contemporary vanitas motifs, the anti-Albertian nature of the genre, the interplay of presence and erasure, and the dislocation of form in Morandi's etchings. The exhibition draws on art historical references from Norman Bryson and Cesare Brandi to frame the evolution of still life from tradition to radical abstraction.

Venice Biennale, no prize for Russia or Israel

Biennale de Venise, pas de prix pour la Russie ou Israël

The Venice Biennale has announced that neither Russia nor Israel will receive awards at this year's edition. The decision reflects ongoing geopolitical tensions and controversies surrounding the participation of these nations in the prestigious international art exhibition.

US SCULPTURES AMID CONTROVERSY AT THE VENICE BIENNALE

The United States Pavilion at the 61st Venice Biennale features sculptor Alma Allen's exhibition "Call Me the Breeze," which opened with no clear funding just ten days prior. Unlike previous pavilions supported by major foundations like Ford and Mellon, Allen's show relies on a $375,000 US government contribution and public donations via the American Arts Conservancy. The selection process was unconventional: the State Department, which took over after Trump's NEA budget cuts, imposed restrictions on DEI policies and required proposals promoting "American exceptionalism." Curator Jeffrey Uslip directly approached Allen without a formal proposal, leading the artist's two galleries—Olney Gleason and Mendes Wood DM—to drop him when he accepted the commission.

‘How can nudity be so provocative?’ Florentina Holzinger on rocking Venice with naked jetskiers, human bells and urine divers

Florentina Holzinger, an Austrian dancer and choreographer known for provocative, physically extreme performances, is representing Austria at the Venice Biennale with a new work titled *Seaworld Venice*. The piece features naked performers on a barge in the lagoon, including a woman suspended upside down inside a cast-iron bell hoisted by a crane, a guitarist rocking at a vertiginous height, and a vocalist screaming like Yoko Ono. Holzinger’s previous opera *Sancta* included a climbing wall, nuns on roller skates, and a pregnant pope on a robot arm, and has toured European opera houses for two years.

From men on dog leads to public breast-fondling, Valie Export’s art demanded a total feminist revolution

Valie Export, the pioneering Austrian feminist artist known for her provocative and confrontational performances from the 1960s onward, is the subject of a reflective essay by writer and academic Hettie Judah. The article revisits Export's radical works such as *Hyperbulia* (1973), where she crawled naked through electrified wires; *From the Portfolio of Doggedness* (1968), in which she led a man on a dog lead through Vienna; and *Action Pants: Genital Panic* (1969), where she walked through a cinema with exposed genitals. Judah draws on her own interviews with Export, who died in 2023, and discusses the artist's manifesto demanding that women use art to reshape consciousness and achieve liberation.

Fire erupts at San Francisco's Vaillancourt Fountain during its dismantling

A fire broke out at San Francisco's Vaillancourt Fountain on May 4, 2025, as construction crews used torches to dismantle the 1971 Brutalist structure, igniting debris inside its steel tubes. The San Francisco Arts Commission confirmed the fire was quickly extinguished with no major damage, but the incident has raised concerns about safety protocols, as workers were reportedly not wearing protective gear against potential lead or asbestos exposure, and no public warnings were posted. The dismantling proceeded after a California appeals court denied a request from the local coalition Friends of the Plaza to halt the removal, which the city justified citing asbestos and structural risks.

Museo de Arte Moderno de Bogotá's director departs amid accusations she harassed staff

The Museo de Arte Moderno de Bogotá (Mambo) is in a leadership crisis after its director, Martha Ortiz, resigned amid accusations of harassment and creating a toxic work environment. Her departure follows the dismissal of artistic director Eugenio Viola in February, which sparked an open letter signed by over 140 cultural figures demanding transparency. The museum's board chair, Ángela Royo, and financial manager Francy Hernández are temporarily overseeing operations while searches for both director and artistic director are underway.

Ayotunde Ojo Maps Interiority Under the Public Gaze

The article, a critic's guide review by Andrew Durbin, contrasts the US national pavilion presentation at an unspecified biennial with those of Britain and Germany. The US presentation is described as vacuous and lacking in meaning, while the British and German installations are praised for being incisive and moving. The review critically examines the thematic and conceptual approaches of each national pavilion, highlighting a disparity in artistic depth and engagement.

Off-Site Exhibitions Review: The Politics of Listening

Andrew Durbin reviews the national pavilions at an unnamed biennial, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review critiques the lack of meaningful engagement in the US pavilion while praising the depth and emotional resonance of the British and German contributions.

Arsenale Review: Where Voices Resist Erasure

At the 2026 Venice Biennale's Arsenale, critic Andrew Durbin reviews national pavilions, finding the US presentation vacuous and lacking meaning, while praising the British and German pavilions for their incisive and moving installations that resist erasure. The review highlights a stark contrast in curatorial ambition and political engagement among the participating nations.

‘YBA & BEYOND’ Exports British Cool

Frieze critic Andrew Durbin reviews the national pavilions at the Venice Biennale, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The British pavilion, titled 'YBA & BEYOND,' exports British cool by showcasing works from Young British Artists and their successors, while the German pavilion offers a deeply resonant experience. The US pavilion is criticized for lacking meaningful content, raising questions about curatorial direction and national representation.

National Pavilions Review: Who’s Afraid of Meaning?

Andrew Durbin reviews national pavilions at a major biennial, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review critiques the lack of meaningful content in the US pavilion while praising the depth and emotional resonance of the British and German contributions.

Nikita Kadan Questions Whether War Ever Ends

Ukrainian artist Nikita Kadan, in an interview with Frieze, reflects on his practice and the ongoing psychological and physical toll of war, questioning whether conflict ever truly ends. He discusses his recent works, which grapple with the persistent state of war in Ukraine, the transformation of urban spaces, and the collective trauma that outlasts active hostilities.

Ittai Gradel, gems expert who uncovered British Museum thefts, dies aged 61

Ittai Gradel, a Danish classical gems specialist, has died at age 61. His investigations revealed that hundreds of objects had been stolen from the British Museum, leading to the resignation of director Hartwig Fischer in 2023. Gradel first alerted the museum in 2021 after finding proof that precious objects were being sold on eBay, naming senior curator Peter Higgs as the suspected seller. After initial concerns were ignored, Gradel wrote again in 2022, eventually prompting a police investigation. Higgs was dismissed in July 2023, and Fischer resigned the following month. Of the 2,000 items affected, 626 have been recovered, many bought in good faith by Gradel and returned. Earlier this month, Gradel received a special British Museum award from current director Nicholas Cullinan.

Fraudster trying to sell fake ancient statues to Sotheby’s foiled over bogus invoices

A fraudster named Andrew Crowley, 46, attempted to sell fake ancient statues to Sotheby's, claiming they were inherited from his grandfather. The items—three Cycladic figures and one Anatolian stargazer statuette—were valued at up to £680,000 if genuine. However, the scheme unraveled when forensic analysis revealed that the accompanying invoices, purportedly typed in 1976, were produced using printing methods invented in 2001. Sotheby's experts also spotted spelling errors. Crowley received a two-year suspended sentence after admitting to making a false representation to the auction house.

Architects Behind Frick Renovation Tapped for Louvre’s ‘New Renaissance’

The French government has selected STUDIOS Architecture to lead a major renovation of the Louvre Museum in Paris, including new galleries and a second entrance. The project, called the 'New Louvre Renaissance,' was announced by President Emmanuel Macron in early 2025 but stalled after a jewel heist and staff strikes led to the resignation of former Louvre president Laurence des Cars, who was succeeded by Christophe Leribault. The $778 million plan aims to ease overcrowding at the museum, which hosts 9 million visitors annually, and includes a dedicated 33,000-square-foot gallery for the Mona Lisa.

Palate Cleansers at Frieze NY

Hyperallergic's coverage of Frieze New York and concurrent art fairs in the city frames the experience as overwhelming yet punctuated by standout works. Senior Editor Valentina Di Liscia compares the fair to an assembly-line salad, finding reprieve in art that evokes lush canopies, diaphanous portraiture, and ancestral gardens. The issue also includes dispatches from Future Fair, 1-54, TEFAF, NADA, and Independent Art Fair, alongside a tribute to Austrian performance artist Valie Export, who died at age 85, remembered for her radical feminist guerrilla performances that challenged the male gaze.

Parliamentary report calls for major changes at French museums in the wake of Louvre heist

A French parliamentary report published on 13 May, following the October 19 heist of the crown jewels at the Louvre, issues a damning assessment of the country's museum security and management. The commission heard around 100 testimonies and examined some 2,000 museums, dedicating a special chapter to the Louvre. It blames former director Laurence des Cars's leadership for a "dysfunctional drift" that prioritized contemporary art interventions and fashion shows over basic infrastructure and collection protection, allowing the heist to occur. The report lists rising threats including riots, burglaries, cyberattacks (which forced the National Museum of Natural History in Paris to cancel an exhibition after a ransomware attack in July 2025), and terrorist plots. It proposes 40 recommendations, including raising budgets by an estimated €20–25 billion over a decade, enhancing staff training, and overhauling museum leadership.

Trace the making of Fermata: Hong Kong in Venice through complete artwork reveals and installation photography

The article details the making of 'Fermata: Hong Kong in Venice,' a collateral event at the 61st Venice Biennale curated by the Hong Kong Museum of Art (HKMoA). The exhibition features two Hong Kong-based artists—established media artist Ng and emerging artist Angel Hui—whose works explore the poetic rhythms of everyday life in Hong Kong, engaging with the Biennale's theme 'In Minor Keys' by Koyo Kouoh. The selection process involved nominations from local tertiary institutions and professional art organizations, with over 200 artists considered before Ng and Hui were chosen.

Met Inaugurates ‘Costume Art’ for the Spring 2026 Exhibition

The Metropolitan Museum of Art will open 'Costume Art' in spring 2026, a major exhibition that positions fashion as a lens for examining the human body across cultures and history. Housed in a new 12,000-square-foot gallery adjacent to the Great Hall, the show pairs garments from The Costume Institute with ancient statues, artworks, and paintings, organized around thematic body types such as idealized, distorted, exposed, and reclaimed. The exhibition design by Peterson Rich Office uses sheer scrims and varied ceiling heights to create an immersive, interconnected experience.

The Bad Bunny chairs taking over the art world

Edra Soto, a Puerto Rican artist based in Chicago, has created a series of plastic lawn chairs upholstered with the face of reggaetón superstar Bad Bunny, now on view in the exhibition "Dancing the Revolution: From Dancehall to Reggaetón" at the Museum of Contemporary Art Chicago. The chairs, part of Soto's broader practice transforming everyday Puerto Rican objects into art, also appear at the Kemper Museum of Contemporary Art in Kansas City and were shown at EXPO Chicago. The exhibition explores the visual history and political power of Caribbean music, highlighting Bad Bunny's role in the 2019 protests that led to the resignation of Governor Ricardo Rosselló.

INSIDE THE 2026 MET EXHIBITION ON FASHION AS ART

The Metropolitan Museum of Art's 2026 exhibition 'Costume Art' explores how standards of form, modesty, and exposure have evolved across history and cultures. The show is organized into sections examining the classical body, distorted bodies through corsets and bustles, and reclaimed bodies by designers like Rei Kawakubo, Duran Lantink, and Michaela Stark. Another section focuses on the 'Anatomical' and 'Mortal' bodies, highlighting universal experiences such as aging and mortality. Mannequins represent diverse body types—pregnant, plus-size, disabled, and non-conforming—modeled after real people including Sinéad Burke, Aariana Rose Philip, Aimee Mullins, and Yseult, with reflective steel faces designed by artist Samar Hejazi.

Exhibition | Olivia Sterling, 'Jelly' at Dirimart Pera, Istanbul, Turkiye

Dirimart presents Olivia Sterling's first solo exhibition in Istanbul, titled 'Jelly,' at its Pera location from May 7 to June 14, 2026. The show explores themes of race, power, and desire through scenes involving food, the body, and stains, using fruit and dark colors as metaphors for consumption and objectification. Sterling's paintings incorporate letters that expose how race is constructed through language, while the title 'Jelly' evokes flexibility, fluidity, and a grotesque bodily quality that mirrors the instability of identity and social conventions.

Seattle Art Museum Workers Announce Unionization

More than one hundred employees at the Seattle Art Museum (SAM) announced their intent to unionize on May 13, delivering a letter to museum director and CEO Scott Stulen. Organizing as Seattle Art Museum Workers United (SAMWU) under the Washington Federation of State Employees/AFSCME Council 28, the staff—spanning over twenty departments—cited unsustainable wages, subpar health benefits, and top-down decision-making as key issues. They filed for an election with the National Labor Relations Board but will withdraw the petition if the museum voluntarily recognizes the union by May 27. Stulen acknowledged receipt of the letter and committed to good-faith negotiations.

Two New Italian Paintings for the Bemberg Collection in Toulouse

Deux nouveaux tableaux italiens pour la Collection Bemberg à Toulouse

The Collection Bemberg in Toulouse has acquired two new Italian paintings, including a still life by Bernardo Strozzi (1581-1644) purchased at the Maastricht art fair from Galerie Canesso. The work, a vibrant depiction of peonies and fruit, was previously sold at Sotheby's London in July 2013 and first published in 1985. The acquisition continues the museum's decade-long strategy of enriching its holdings with major works sourced from the art market, guided by its scientific council.

The Craziest Venice Biennale Ever: One Week Before Opening, the Jury Resigns (The Public Will Decide the Lions!)

La Biennale di Venezia più pazza di sempre: a una settimana dall’apertura si dimette la giuria (I Leoni li deciderà il pubblico!)

The entire international jury of the 61st Venice Biennale has resigned en masse just one week before the opening. The jury, chaired by Solange Oliveira Farkas and including Zoe Butt, Elvira Dyangani Ose, Marta Kuzma, and Giovanna Zapperi, had publicly announced they would not consider countries whose leaders are accused of crimes against humanity by the International Criminal Court—effectively excluding Russia and Israel from the Golden Lion competition. This decision came amid ongoing tensions between Italian Culture Minister Alessandro Giuli and Biennale President Pietrangelo Buttafuoco over Russia's participation, as well as controversy surrounding Israel's presence. After a meeting with Buttafuoco, the jury resigned, leaving the Biennale without a key body to award its top prizes.

Art Gallery of Burlington to host inaugural exhibition for emerging artists

The Art Gallery of Burlington (AGB) will host the inaugural Henry Goodman Exhibition for Emerging Artists starting May 21, presented by the arts charity FUSION. The traveling show features over 25 emerging artists working in ceramic and glass under the theme 'gathering,' curated by 2025 Sobey Award finalist Chukwudubem Ukaigwe. Artists include Laura Wagner, Thomas Paik, Deborah Hatanaka, and Ryan Nesbitt. The exhibition will later travel to Rails End Gallery in Haliburton and Neilson Park Creative Arts Centre in Mississauga.