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art venice faustin linyekula the galeazze project dance

Congolese choreographer Faustin Linyekula is staging "The Galeazze Project," a performance commissioned by the Venice-based nonprofit Scuola Piccola Zattere (SPZ) in the 16th-century Galeazze shipyard complex, which has been inaccessible since World War II and never open to the public. The performance, a collateral event of the 2026 Venice Biennale, brings up to 500 people into the 32,291-square-foot open-air ruin for two nights, featuring local students, musicians from the Venetian label Cosmogram, and trumpeter Heru Shabaka-Ra, with a soundtrack composed collaboratively.

« À qui appartiennent ces œuvres ? » : le destin des biens culturels spoliés par les nazis au cœur d’un nouvel espace au musée d’Orsay

On May 5, the Musée d'Orsay in Paris inaugurated a new dedicated space in the Pavillon Amont for artworks looted during World War II that remain unclaimed by their owners or heirs. The room, titled "À qui appartiennent ces œuvres ?" ("Who owns these works?"), features thirteen pieces including sculptures by Auguste Rodin and paintings by Auguste Renoir, Edgar Degas, and Eugène Boudin. These represent a fraction of the museum's 225 MNR (Musées nationaux récupération) holdings, part of a national legacy of approximately 2,000 looted works still held in French museums.

Nahmad Seeks to Reopen Modigliani Restitution Case With New Witnesses

David Nahmad's lawyers are asking a New York court to reconsider its April 3 decision in the restitution case over Amedeo Modigliani's *Seated Man with a Cane* (1918), which awarded the painting to the estate of dealer Oscar Stettiner. They cite new eyewitness testimony from Frédéric Allain, who recalls a different Modigliani—smaller, darker, and without a seated man or cane—hidden by the Van der Klip family in Paris during World War II, suggesting the wrong painting may have been the focus of the case. The filing also references a 1946 report describing the missing work as a self-portrait and a new catalogue raisonné by Marc Restellini that finds no link between the painting and Stettiner. Mondex, representing Stettiner's heirs, rejects the claims, asserting that *Seated Man with a Cane* bears Stettiner's name and was in the family's possession from 1944 to 1996.

An Abandoned Shipyard in Venice Is Getting a New Life Thanks to This Congolese Choreographer

Congolese choreographer Faustin Linyekula is staging "The Galeazze Project," a performance in a 16th-century shipyard complex in Venice that has been inaccessible since World War II and never open to the public. Commissioned by the nonprofit Scuola Piccola Zattere, the work will bring up to 500 people into the 32,291-square-foot open-air ruin for two nights during the 2026 Venice Biennale preview week. The rental fee from the performance will help stabilize and restore the floors of the historic Galeazze site.

Musée d’Orsay opens gallery dedicated to still-unclaimed works stolen by Nazis in WWII

The Musée d'Orsay in Paris has opened a permanent gallery dedicated to artworks believed to have been looted by the Nazis from Jewish owners during World War II, but whose rightful owners have not been identified. The exhibition, titled "Who owns these works?", features a rotating selection of 225 such pieces held by the museum, with twelve paintings and one sculpture currently on display. Works by Renoir, Degas, Rodin, and Alfred Stevens are included, alongside provenance research detailing their murky histories—such as a Degas ballroom scene acquired by a Jewish collector later murdered at Auschwitz.

‘Your homes will be destroyed, your family killed’: the US has dropped millions of war propaganda leaflets – but do they work?

The United States military has been dropping propaganda leaflets in psychological operations (psyops) for over a century, from World War I through the Gulf War and the wars in Iraq and Afghanistan. A new interactive exhibit at Pioneer Works in Brooklyn, organized by the digital archive group Khajistan, displays hundreds of these leaflets, including those dropped on Japan during World War II and in more recent conflicts. However, declassified internal documents, such as a 1971 US Air Force report, reveal that leaflets were often used as toilet paper, cigarette rolling paper, or souvenirs by enemy soldiers, undermining the official narrative of their effectiveness.

WA’s Maryhill Museum of Art has ties to royalty, celebrates milestone

The Maryhill Museum of Art in Goldendale, Washington, is celebrating the 100th anniversary of its dedication by Queen Marie of Romania. Founded by entrepreneur Samuel Hill in 1907, the museum houses an eclectic collection including over 80 works by Auguste Rodin, French haute couture fashions, and thousands of Indigenous art objects. To mark the centennial, the museum has opened three new exhibitions highlighting Queen Marie's contributions: Russian icons, Romanian embroidery, and folk pottery, alongside her personal items like coronation gowns and gilded furniture.

Van Cleef & Arpels cashes in on lucrative secondary market for vintage jewellery

Van Cleef & Arpels has capitalized on the growing secondary market for vintage jewelry through its Heritage Collection, launched in 2007. The collection offers around 150 curated 20th-century pieces, authenticated and restored by the maison, allowing clients to buy directly from the jeweler rather than through auction houses like Sotheby's, Christie's, and Artcurial, which sold over €120 million in Van Cleef jewels in 2024.

Grohmann Museum Exhibit Focuses on Veterans and Service

The Grohmann Museum in Milwaukee has opened a new exhibition pairing two shows by contemporary American artists focusing on military service. Ohio-born Mary Whyte's "We the People: Portraits of Veterans in America" features 50 large-scale watercolor portraits of veterans from various wars and backgrounds. Milwaukee photographer Dennis Darmek's "Boots and Sand: The Marines of 29 Palms" presents two dozen color photographs taken at the Marine Corps base in California's Mojave Desert, where Darmek himself trained in 1969. The photos capture both posed and candid moments, highlighting diversity within the modern Marine Corps, including women in combat roles.