The 22nd edition of SP-Arte has opened at São Paulo’s Oscar Niemeyer-designed pavilion, featuring over 180 galleries and design studios. While global art markets face a period of recalibration, the Latin American sector—and Brazil in particular—is reporting significant growth, including a 21% year-on-year increase in sales for Brazilian dealers according to the latest Art Basel and UBS report.
The Campbell River Art Gallery (CRAG) is presenting a new group exhibition titled "Sacred in All Forms: Artists Reclaim the Divine Feminine Across Bodies, Lands, and Worlds," curated by Jenelle Pasiechnik. The show features four contemporary artists—Sandeep Johal, Xiaojing Yan, Kourtney Jackson, and Aaron McIntosh—whose works in textiles, video, sculpture, installation, and mixed media explore the sacred in everyday life, the body, relationships, and nature. The exhibition runs from May 7 to August 8, 2026, with an opening reception on May 9. Public programs including artist talks, workshops, and community conversations will accompany the show.
Yasmin Smith, an Australian artist described as an 'archaeological ceramicist,' presents her solo exhibition *Elemental Life* at the Museum of Contemporary Art Australia (MCA) in Sydney, running until June 8. The show features sculptural installations that use ceramics and glaze technologies to decode environmental and human histories. Key works include *Seine River Basin (2019)*, commissioned by the Centre Pompidou, which uses ash-glazed stoneware replicas of tree branches to reflect the chemical history of the River Seine, and *Chicxulub (2025)*, which draws on samples from the asteroid impact crater in Mexico to explore mass extinction. Smith’s practice involves extensive field research and collaboration with ecologists, archaeologists, and local communities, creating site-specific glazes that act as chemical records of place and time.
Alex Burchmore reviews 'The Hooligans,' an exhibition that explores the Maoist concept of hooliganism in the context of contemporary Chinese art. The show features works by artists like Xiao Lu, who famously fired a gun at her installation during the 1989 'China/Avant-Garde' exhibition, as well as Zhu Yu and He Yunchang, known for incorporating human body parts and surgical procedures into their art. The exhibition contrasts these transgressive acts with more market-friendly works, such as Zhu Yu's gilded plate paintings and Hu Yinping's commercial-style figurines, highlighting the tension between artistic rebellion and commercial success.
The Turner Prize 2026 shortlist has been announced, featuring four artists: Simeon Barclay, Kira Freije, Marguerite Humeau, and Tanoa Sasraku. Their works include a spoken-word performance about industrial northern England, sculptures exploring human emotions, mythical ecological forms, and installations examining the political history of oil. The shortlisted works will be exhibited at the Middlesbrough Institute of Modern Art, with the winner revealed on December 10. Each shortlisted artist receives £10,000, and the winner gets £25,000.
An exhibition titled "Virgil Abloh: The Codes" opened at the Grand Palais in Paris during Paris Fashion Week, showcasing the late designer's跨界 work. The centerpiece is a one-of-a-kind McIntosh amplifier, the MA8950 x Virgil Abloh Integrated Amplifier, based on a design Abloh conceived in 2020 and completed posthumously by his team. The show also features a recreation of his sound setup, a wall of collaborative shoes, his original work table, archival pieces from Pyrex Vision and Chrome Hearts, and a Nike customization station.
Paradise, an exhibition at Stove Works in Chattanooga, Tennessee, curated by Graham Feyl and J. Sova, presents works by thirteen artists centered on queer futurity and abundance. The show features installations, sculptures, paintings, and textiles, including Lisa Waud's artificial flower installation 'tread/tender' (2026), Nicholas Elbakidze's erotic Meissenettes (2026), Brian Smith's beaded nets, Aaron McIntosh's quilted 'Invasive Queer Kudzu' (2015-ongoing), and works by Yu Yan, E. Saffronia Szanton Downing, Angie Jennings, Michael Childress, and Hannah Banciella. The exhibition transforms the former foundry into a space of playful, erotic, and joyful refusal, drawing on Audre Lorde's definition of the erotic as a source of power.
Two exhibitions raising funds and awareness for Palestinians open in London this week. The main show, titled 'GAZAGAZAGAZA', features over 400 donated works by more than 200 artists from 35 countries, organized by Studio 1.1 and the artist-led activist community Artists Supporting Palestine (ASP). Proceeds from sales, including postcard-sized works priced at £20, will benefit Medical Aid for Palestinians (MAP). Additional fundraising initiatives include prints by Gaza-based artists and a badges project supporting children in Gaza.
The Centre International d’Art et du Paysage—Île de Vassivière (CIAPV), a rural French arts centre on a forested island in Nouvelle-Aquitaine, is tackling its carbon footprint after a government-mandated analysis revealed that 95% of its emissions come from visitors driving to the remote site. Executive director Alexandra McIntosh is drawing on the island's manmade landscape—shaped by hydroelectric damming, agriculture, and logging—to implement ecological initiatives, including rewilding open fields, creating a self-managing test forest with botanist Francis Hallé, and planting pollinating flowers to boost biodiversity.
A Montreal art program for neurodiverse adults, called Art Seen, is preparing for an exhibition at the McClure Gallery from June 12 to 22, 2025. The program, run in partnership between the Visual Arts Centre and the English Montreal School Board (EMSB) at the Wagar Adult Education Centre, provides studio space and training in painting, printing, cartooning, and collage. Students like Victoria McIntosh, Matthew Brotherwood, Lisa Potter, Juliette Plamondon, and Jonathan Pepin are creating works for the show, which includes a theme titled 'the reconstructed' that involves repurposing old art history books to assert their place in the narrative.