The article covers the Berlin Gallery Weekend, highlighting a cluster of exhibitions around Checkpoint Charlie. It features light art, political sculpture, textile experiments, and spatial interventions. Among the participants is Galerie Max Goelitz, which presents James Turrell's light installation series "Small Elliptical Glass 'First Cause'" (2024) at its Berlin space in Rudi-Dutschke-Straße, as part of the "Perspectives" section.
The article previews the Berlin Gallery Weekend, focusing on the Mitte district as a hub for contemporary art. Highlights include Pae White's exhibition 'pushmi-pullyu' at Neugerriemschneider, featuring oversized insects, crabs, and kaleidoscopic wall sculptures, alongside other shows with photo art on copper, queer historical explorations, and mobile urban interventions along Linienstraße, Oranienburger Straße, and Rosa-Luxemburg-Platz.
French artist François Boisrond, a key figure of the 1980s Figuration libre movement, presents his new series "Ouvrages d'art" at Galerie Maïa Muller in Paris. The series reinterprets monumental architecture—including the Millau Viaduct, the Pont de Normandie, Mont Saint-Michel, Notre-Dame, and the Eiffel Tower—using drone-sourced images. Boisrond employs a new liquid acrylic technique that creates a matte, flat finish, producing works that appear hyperrealistic from a distance but dissolve into impressionistic or pixelated abstraction up close. The exhibition, extended through May 16, 2026, features large-format paintings priced between €25,000 and €50,000.
The Birmingham Museum of Art (BMA) announced it will unveil a landmark exhibition titled "Roll Call: Two Hundred Years of Black American Art" in September 2026. The show features 99 works drawn entirely from the museum's permanent collection, tracing two centuries of Black artistic production. Organized in four thematic sections—The Ground We Stand On, Ujima: Collective Work and Responsibility, What Freedom Feels Like, and In the Heart of It All—the exhibition highlights the museum's history of collecting Black art, which began in 1971 and now includes over 1,000 works by 250 Black artists. The exhibition coincides with the museum's 75th anniversary and runs from September 26, 2026 to January 17, 2027.
The Art Gallery of Nova Scotia (AGNS) has opened "On the Matter of Memory: The Drawings of Harold Cromwell," the first solo exhibition dedicated to the late African Nova Scotian folk artist. Cromwell (1919–2008) created intricate ballpoint-pen drawings on everyday surfaces like cupboard doors and paper plates, chronicling working-class rural life. His works were sold for a few dollars at the Annapolis Farmer’s Market and were largely overlooked during his lifetime, despite his regional popularity. The exhibition runs until September 13, 2026, and aims to elevate his legacy alongside better-known Nova Scotian folk artists like Maud Lewis.
The fifth edition of the Reiffers Initiatives Prize has opened in Paris with the exhibition "Trafiquer l'inconnu" ("Trading in the Unknown"), running until June 6, 2026, at the Reiffers Art Initiatives center. The group show features eight emerging artists based in France: Khaled Jarada, Louis Le Kim, Stanislava Kovalcikova, Arthur Marie, Eva Helene Pade, Ibrahim Meïté Sikely, Minh Lan Tran, and Manon Wertenbroek. Curated by Bernard Blistène, former director of the National Museum of Modern Art – Centre Pompidou, the exhibition presents works spanning painting, archival imagery, and explorations of the body. Stanislava Kovalcikova was named the winner of this edition, and Khaled Jarada received a new Special Mention from the jury.
Gala Porras-Kim presents her first exhibition at kurimanzutto in Mexico City, titled "Future spaces replicate earlier spaces," running from April 11 to June 13, 2026. The show brings together works that examine how museums and conservation institutions reclassify objects removed from their original contexts, using reconstruction and resituating to explore their spatial, material, and temporal conditions. Central to the exhibition is the installation "The motion of an alluvial record" (2024), which recreates the humid marshland atmosphere of the Yucatán Peninsula inside the gallery, contrasting with the controlled climates of museums. Other works include drawings replicating wall decorations from the Techinantitla complex in Teotihuacan, which were fragmented and sold on the black market, and graphite drawings of objects by artist Brígido Lara, whose "original interpretations" of Totonac ritual clay objects were mistakenly catalogued as Pre-Hispanic artifacts in major museums.
The article presents a curated list of five notable art exhibitions in the Chicago area for May 2026. Highlights include a solo show of monumental sculptures by Dr. Charles Smith at the Intuit Art Museum, exploring anti-monumentalism and African American historical representation; a 50th-anniversary group exhibition at Zolla/Lieberman Gallery featuring over 140 artists; and a two-part cosmic-themed group show at the Renaissance Society. Other featured shows include drawings by late Imagist Suellen Rocca at Corbett vs. Dempsey and a waterscape-themed group exhibition at Grove Gallery in Evanston.
The Los Angeles County Museum of Art (LACMA) has opened its new David Geffen Galleries, a landmark building designed by Swiss architect Peter Zumthor. The structure features floor-to-ceiling windows, spans Wilshire Boulevard 30 feet above the Miracle Mile, and houses galleries organized around maritime trade routes. The museum celebrated its inaugural events with a gala and ribbon-cutting, opening to the public on April 20, 2026. The new space displays over 155,000 art objects from the permanent collection, spanning ancient civilizations to contemporary works.
The article highlights several art exhibitions on view in Milwaukee in May 2026, curated around themes of graduation and motherhood. Featured shows include Ahmari Benton's solo exhibition 'No Place for Self-Pity, No Room for Fear' at Mitchell Street Arts, Cameron Clayborn's solo show 'That's When Love Swallows You Whole, Right. Now' at Experimental Sculpture Room, the group exhibition 'Mom & Art' at Milwaukee Makers Market, and a youth art exhibition at the Milwaukee Art Museum. Many of the shows honor resilience, identity, memory, and the complexities of motherhood, with some featuring works by artists who have passed away.
The Sovereign Asian Art Prize, now in its 22nd year, has announced its 2026 shortlist of 30 artists from 12 Asia-Pacific countries and territories. Among the finalists are three Filipino artists: Joey Cobcobo, Josephine Turalba, and Alvin Zafra. Cobcobo's nominated work, "Ika-8 Utos: Wag Kang Kukurap (Thou Shall Not Steal)," addresses corruption in the Philippines using a recycled canvas walked on by the public. Turalba, a transdisciplinary artist, has exhibited at Art Basel Hong Kong 2025 and serves as director of the Artistic Research Center at Philippine Women's University. The prize is run by the Sovereign Art Foundation, with proceeds from shortlisted works supporting its Make It Better charity program for children in Hong Kong.
South Korea's only media art fair, Loop Plus, was held from April 23 to 26 at the Grand Josun Busan Hotel in Haeundae, Busan. The fair transformed 26 hotel rooms on the 13th floor into exhibition spaces, featuring media artworks from 19 international galleries including Tang Contemporary Art, Esther Schipper, Chiwen Gallery, and Baek Art. Highlights included a 38-minute video installation by Russian artist group AES+F titled *‘Inverso Mundus’*, presented by Tang Contemporary Art, which humorously subverts societal absurdities. The event also included artist booths for Kang Lee-yeon and Lucia Levolino, and institutional booths for the Justice Foundation and Gwangju Media Art Platform. A related festival, Loop Lab Busan 2026, runs until June 28 across multiple venues in Busan.
Renowned Israeli sculptor Yaacov Dorchin, recipient of the 2004 Emet Prize and the 2011 Israel Prize for Visual Arts, opened his latest exhibition "Decapitated Fish and Additional Sculptures" at the Gordon Gallery in Tel Aviv on March 12, 2026—his 80th birthday and two weeks into the war with Iran. The exhibition, held without a large opening night due to the conflict, features about 15 sculptures spanning from 1993 to the present, including works in iron, steel, basalt, and other industrial materials. In an interview interrupted by an air raid siren, Dorchin discussed his approach to sculpting, the lyrical names of his heavy works, and how he reorganized the exhibition to create dialogues between older and newer pieces.
Colossal's May 2026 opportunities roundup lists multiple open calls, residencies, and grants for artists worldwide. Featured opportunities include the Scenerium 2026 Art Award (deadline May 7), the Hopper Prize offering $4,500 and $1,000 artist grants (deadline May 12), and the SaveArtSpace Billboard Art Open Call curated by Gigi Chen (deadline May 7). Other listings include the YICCA Art Prize, CIFRA Award, Cass Art Prize for the U.K. and Ireland, Sunshine Coast National Art Prize in Australia, an opportunity to get published in Artistonish magazine, and the Abbey Mural Prize.
Converge 45, a citywide triennial in Portland, Oregon, has announced the theme and 28 participating artists for its upcoming edition, launching August 27. Curated by New York–based Lumi Tan, the exhibition is titled “Here, To you, Now,” borrowing a phrase from Ursula K. Le Guin’s 1985 novel *Always Coming Home*. More than half of the artists are based in Portland, including Srijon Chowdhury, Aaron Cunningham, and keyon gaskin, while out-of-state participants include Trisha Baga, Rose Salane, and Jacqueline Kiyomi Gork. The triennial will take place across 16 venues, including the Portland Institute of Contemporary Art and Oregon Contemporary.
The jury for the 2026 Venice Biennale has resigned just days before the public opening on May 9, after announcing on April 22 that it would not consider artists from countries accused of crimes against humanity for the Golden and Silver Lion prizes. The jury, consisting of Solange Oliveira Farks (president), Zoe Butt, Elvira Dyangani Ose, Marta Kuzma, and Giovanna Zapperi, cited its earlier statement of intention in its resignation, which directly impacted the participation of Russia and Israel—both subject to International Criminal Court warrants. In response, the Biennale postponed the awards ceremony from May 9 to November 22 and replaced the traditional jury with a public vote for best participant and best national participation, framing the move as upholding openness and rejecting censorship.
Palazzo Madama in Turin, Italy, has introduced a four-foot-tall robot named R1 as a docent for its Baroque collection. The robot, developed by the Italian Institute of Technology (IIT) under Project Convince with €4 million in EU funding, guides visitors through the former royal apartments, narrating the history of the House of Savoy and detailing paintings, tapestries, and furniture. R1 can interact with visitors via LED eyes, answer questions, and autonomously navigate the museum's first floor, though it cannot climb stairs. It has been learning on the job since 2025, completing 30 tours in December 2025, and uses corrective software to relocalize itself if lost.
Israel’s foreign ministry has accused the Venice Biennale's jury of politicizing the exhibition after jurors announced they would not consider for prizes countries whose leaders face International Criminal Court charges for crimes against humanity. The jury’s statement, which did not name specific nations, is broadly understood to apply to Israel and Russia, both returning to the Biennale for the first time since the Gaza war and the Ukraine invasion, respectively. The Israeli ministry posted on X that the jury had decided to 'boycott' Israeli sculptor Belu-Simion Fainaru, calling it 'a contamination of the art world.' The Biennale distanced itself from the jury’s announcement, stating the jury acts autonomously, while the Russian pavilion is reportedly set to open only for a limited pre-opening period due to budget constraints amid sanctions.
The American Folk Art Museum (AFAM) in New York will present "Self-Made: A Century of Inventing Artists" this spring, a major exhibition examining the historical definition of the "self-taught artist" through authorship, agency, and self-representation. Featuring over 90 works spanning the early 20th century to today, the show is organized around three strategies—self-portraiture, alter egos, and autobiography—and includes pieces by Henry Darger, Clémentine Hunter, Martín Ramírez, Aloïse Corbaz, Adolf Wölfli, Nicole Appel, Susan Janow, and Joe Coleman, many on view for the first time.
The exhibition "Genuine Fake Premium Economy" at a London gallery features works by American artists Jenna Bliss, Buck Ellison, and Jasmine Gregory, all born in the mid-1980s. Their pieces—including Bliss's shaky videos of New York's financial district, Ellison's fictional bank advertisements pairing classical paintings with cynical taglines, and Gregory's luxury watch ads stripped of watches—collectively express millennial rage at a rigged financial system and the aftermath of the 2008 crash.
Kyotographie, Japan's leading international photography festival, opened its 2025 edition with the theme 'Edge,' featuring 14 exhibitions across Kyoto. The festival includes a major retrospective of Daido Moriyama, the 86-year-old pioneer of the 'are-bure-boke' aesthetic, showcasing over 200 images, 400 magazines, and 100 books. Also featured are British artist Linder Sterling, known for her punk-era feminist photomontages and album art for Buzzcocks, and Kenyan photographer Thandiwe Muriu, this year's African artist in residence, who uses patterned kitenge fabric to explore identity and female empowerment.
Two letter writers to The Guardian criticize the UK government's arts funding imbalance, highlighting that London receives disproportionate investment compared to northern England. Christine Baranski points out that £135m was spent on the V&A East in London while the Tate in Liverpool has been closed for over two years and the Albert Docks cultural area appears neglected. Sharon Maher notes that Arts Council spending is roughly £57 per Londoner versus £28 per person in the north, and argues that future national museum outposts should be located in the north.
LA FORMA EN LA ERA DE LOS MATERIALES VIVOS. ENTREVISTA AL CURADOR PABLO JOSÉ RAMÍREZ
The Hammer Museum in Los Angeles is presenting "Several Eternities in a Day: Form in the Age of Living Materials," an exhibition curated by Pablo José Ramírez running until August 23. Featuring 22 artists from the Americas, the show explores materials such as avocado, cacao, achiote, cochineal, stone, clay, and natural dyes that evolve, degrade, or transform over time. Organized into three acts, the exhibition challenges conventional notions of the art object by treating these materials as living agents with memory and agency, rooted in Indigenous knowledge and the concept of "brownness." In an interview, Ramírez discusses how these materials destabilize extractivist logics and institutional frameworks, forcing a rethinking of conservation protocols and the very conditions of exhibition-making.
The article examines the life and work of George Febres (1943–1996), an Ecuadorian artist who spent most of his career in the United States, primarily in New Orleans. Febres’s practice blends Pop Art, Neo-Surrealism, and Southern US culture with his experiences as a migrant and queer subject, using bilingualism and ironic tropical imagery to create a hybrid, irreverent body of work. Despite his significance, no works by Febres exist in Ecuadorian public collections, and no major retrospective has been held in his home country, reflecting a broader erasure of queer narratives from national art history.
George Febres (Guayaquil, 1943 – New Orleans, 1996) was an Ecuadorian artist whose work blended pop art, neo-surrealism, and Southern U.S. culture, shaped by his experience as a migrant and queer individual. The article traces his life from a privileged but unstable childhood in Ecuador to his migration to the United States, where he was drafted during the Vietnam War and eventually settled in New Orleans. Febres used bilingualism and ironic appropriation of tropical imagery to create a hybrid, irreverent body of work that challenges the official historiography of Ecuadorian art.
The Círculo de Bellas Artes in Madrid, founded in 1926 by a small group of artists, has launched a centenary exhibition titled "La lechuza de Minerva" (The Owl of Minerva). Curated by Isabella Lenzi, the project revisits the institution's most disruptive exhibition, "El sueño imperativo" (1991), curated by Mar Villaespesa, which invited twelve artists to intervene in both exhibition spaces and transit areas, challenging traditional display logic. The new exhibition features works by artists including Dagoberto Rodríguez, Elo Vega, Rogelio López Cuenca, Isidoro Valcárcel Medina, Itziar Okariz, Los Carpinteros, María Salgado, Pedro G. Romero, Regina Silveira, Silbatriz Pons, and Tino Sehgal, who activate hidden and unexpected corners of the building through visual and sound actions. The project also restores Nancy Spero's 1991 intervention "Minerva, Sky Goddess," which had largely disappeared, through archaeological research led by restorer Rocío Casasus.
An exhibition of works by Spanish Baroque painter Francisco de Zurbarán has opened at London’s National Gallery, showcasing his strikingly realistic still lifes and religious scenes. The show highlights Zurbarán’s masterful use of light, texture, and dramatic composition to create paintings that feel almost tangible, drawing viewers into their intimate, contemplative worlds.
Wohin im Mai?
The article, published by Monopol magazine, previews a selection of art exhibitions and biennials opening in May. Highlights include the 61st Venice Biennale, a solo show by Lina Lapelytė at Hamburger Bahnhof in Berlin (part of the CHANEL COMMISSION series), a group exhibition titled "Lebt und arbeitet in Wien. Contemporary Art from Vienna" at Kunsthalle Wien, and a presentation of Christoph Schlingensief's work "The African Twin Towers" (2005) at MAK Wien. Also featured is Maximiliane Baumgärtner's exhibition at Kunstverein für die Rheinlande und Westfalen in Düsseldorf.
Sara Shamma will represent Syria at the 61st Venice Biennale (2026) with a large-scale immersive installation titled *The Tower Tomb of Palmyra*. The 15-meter-high multisensory work combines painting, architecture, light, sound, and scent, inspired by the ancient funerary towers of Palmyra that were destroyed during the Syrian War. Shamma describes the piece as a reflection on loss, resilience, and cultural memory, and notes its resonance with the Biennale's theme, *In Minor Keys*, curated by Koyo Kouoh.
Bogna Burska and Daniel Kotowski, representing Poland at the 61st Venice Biennale, plan to exhibit a project inspired by the Choir in Motion (a phonic/sign-language ensemble of hearing and Deaf people), underwater role reversals, and whale communication. Their work explores alternate forms of communication, Deaf Gain, and the retrieval of voices—both human and non-human—aligning with the Biennale's theme "In Minor Keys." The Polish pavilion is located in the Giardini.