‘I can use it, I can abuse it’: Tony Albert spent decades collecting racist ‘Aboriginalia’. Now he wants to turn yours into art

Tony Albert, a 45-year-old artist of Girramay, Yidinji, and Kuku-Yalanji heritage, has spent decades collecting thousands of objects he terms 'Aboriginalia'—kitsch, caricatured, and often racist depictions of Aboriginal people created by non-Indigenous Australians. His solo exhibition 'Not a Souvenir' opens at the Museum of Contemporary Art (MCA) in Sydney on 21 May, showcasing over 3,000 items from his collection alongside transformed artworks. The MCA is inviting the public to donate additional Aboriginalia items to Albert's collection, which is housed in his Brisbane studio.

In dreamy photographs, the artist Widline Cadet tells the complex story of her family’s migration

Artist Widline Cadet, who was separated from her mother for six years as a child during her family's migration from Haiti to New York, has spent nearly a decade creating a multimedia "living archive" of photographs, video, sound, and sculpture. Her largest solo exhibition to date, "Currents 40: Widline Cadet," is now on view at the Milwaukee Art Museum, exploring themes of diaspora, memory, and familial connection through dreamlike, often fragmented imagery.

Without Childhood Photos, A Haitian American Artist Spends A Decade Imagining Her Family Archive

Artist Widline Cadet, who was separated from her mother for six years as a child during her family's emigration from Haiti to New York, has spent nearly a decade creating a multi-generational "living archive" of photographs, video, sound, and sculpture. The archive fills the gaps left by scarce family photographs and fading memories, exploring the diasporic experience and the elusiveness of memory. The largest presentation of this work is currently on view at the Milwaukee Art Museum in the exhibition "Currents 40: Widline Cadet."

Annalee Davis at the 2026 Venice Art Biennale. Landscape as mourning, archive and resistance in the Barbados Pavilion

Annalee Davis alla Biennale Arte di Venezia 2026. Il paesaggio come lutto, archivio e resistenza nel Padiglione Barbados

Annalee Davis, an artist from Barbados, will represent her country at the 2026 Venice Biennale with an installation titled "Let this be my Cathedral" within the exhibition "In Minor Keys." The work addresses ecological grief, colonial memory, and the possibility of care without erasing conflict, using suspended plants and organic materials to create a threshold where loss, vulnerability, and wonder remain in tension. Davis discusses the influence of curator Koyo Kouoh, whose vision shaped the Biennale, and the importance of research as an integral part of her artistic process.

MARILYN BOROR BOR, SEBA CALFUQUEO, JULIETH MORALES. PERFORMANCE Y DISIDENCIAS

On April 18, 2026, the performance cycle "Atravesar el lago" (Crossing the Lake) took place in open spaces of Casa del Lago UNAM in Chapultepec Park, curated by Adonay Bermúdez. Artists Marilyn Boror Bor, Seba Calfuqueo, and Julieth Morales activated performances that destabilize dominant knowledge frameworks and confront narratives imposed by colonial modernity. Boror Bor's "Lo que el cemento no puede cubrir" turned the body into a living archive summoning ancestral memories; Calfuqueo's "Guardo mis semillas para el futuro" opened fissures in imposed borders; and Morales's "Enchumbarnos: Cuerpo, Norma y Territorio. Ritual para dos cuerpos" configured a threshold of listening and transformation. The article includes a curatorial text fragment exploring water as a dissident force, drawing on Silvia Rivera Cusicanqui's thought.

Auntiescapes at Load Gallery asks: Can the hyperreal impact social reality?

The article covers the exhibition 'Auntiescapes' at Load Gallery in Barcelona, featuring the work of Singaporean artist Wenhui Lim, who works under the moniker niceaunties. The show includes a central AI-powered mirror that transforms viewers into the face of an Asian auntie, offering blunt, loving remarks, alongside surreal digital landscapes like Auntlantis and Auntiecity that reimagine aunties as protagonists in fantastical worlds. Lim, a former architect, uses AI and editing software to create these hyperreal, expansive works.

Santarcangelo Festival 2026: The Village Fills with Performances, Speaking of the Body as a Political Space Under Pressure

Santarcangelo Festival 2026, il borgo che si riempie di performance parlando di corpo come spazio politico sotto pressione

The 56th edition of the Santarcangelo Festival, titled "Deep Pressures," will take place from July 3 to 12, 2026, in the historic town of Santarcangelo, Italy. Curated by Tomasz Kirenczuk in his final year as artistic director, the festival transforms the town into a "city-festival" with over 100 events including performances, concerts, and participatory practices. The program explores the body as a political space under pressure—from geopolitical conflict and colonial legacies to emotional and social tensions. Key works include "In relation to whom?" by Palestinian artists Marah Haj Hussein and Nur Garabli, "When I Saw the Sea" by Lebanese choreographer Ali Chahrour, and "Homem Novo" by Mozambican artist Yuck Miranda, among others. The festival was presented at Mambo in Bologna, with Kirenczuk emphasizing that the role of the festival is to be unsettling, not reassuring.

Holding Us Together: Images of Care, Continuity, and Black Life

The exhibition 'Kinship & Community' has opened, drawing from the Texas African American Photography Archive to present a living archive of everyday gestures and images of Black life. The show positions photography as both a witness to and a participant in the formation of community memory, focusing on themes of care and continuity.