For his first museum exhibition in Denmark, Sean Scully has created large-scale, site-specific sculptures referring to life and art of Bertel Thorvaldsen, as well as to the history of Denmark when choosing the material to create his new work.

The French artist’s first museum-scale solo exhibition in China gathers a selection of works, including painting, photography, installation and sculptures, from his seven major series, offering a retrospective view of his oeuvre. 

Through 68 artworks, this large retrospective documents the most important developments of Sean Scully's œuvre, from the influences of Fauvism and German Expressionism during the 60s, toward his move to abstraction, based on the memory of figuration. Curated by Lorenzo Balbi, this exhibition explores Scully's practice which is always consistent with its own assumptions and yet capable of varying significantly in relation to emotional experiences and existential evolutions.

In this exhibition, a large sculpture made of coloured Murano glass and numerous paintings from different series illustrate the context of painting and sculpture in the work of Sean Scully. His works prove to be highly relational: each individual pictorial element, each colour is part of a complex pictorial and tonal structure that has an effect beyond the boundaries of the individual panels.

As part of the Festival PHotoESPAÑA, Kimsooja’s exhibition embraces photography as a way to explore and examine a range of subjects from transculturalism, nomadism, cosmopolitanism. From the concept of homeland to human’s vulnerabilities, the role of women in diverse societies or the concept of solitude and time inexorability. 

During the 2nd edition of Art in Oisterwijk, Sean Scully will be presenting his work Black Square as part of a group exhibition featuring 35 Artist from 12 different countries. The historic center of Oisterwijk will be transformed into a colourful, surprising and inspiring open-air museum.

The New Institut interviews Sandra Vásquez de la Horra about healing rituals and traumatic experiences, and the decision to leave Chile: “For me, my inner home is not related to a geographical place.” 

Giorgio Griffa exhibits in Florence after 45 years, since his exhibition at Galeria la Piramide in 1977. Gathering paintings from the last two years, Griffa explores the energy created as an individual and the energy that has already been created as a collective, through 100 billion humans who lived before us. This cycle of constant energy allows Giorgio Griffa to search for the fragments of memory through painting.

Works by Leiko Ikemura and Raimund Girke are part of the exhibition ‘Blanc de Blancs’ at Villa Schöningen. This presentation brings together 54 works by 38 contemporary artists, differing from each other, with white color becoming the connecting link. The use of the only one dominant colour, especially in this compilation, illustrates the complexity of the concept of monochromaticity in art. 

This major exhibition at the Albertina Museum in Vienna explores the different painterly languages developed after the Second World War. Nearly 40 artworks  from the collections of the museum – comprising Roy Lichtenstein, Katharina Grosse, Liliane Tomasko or Andy Warhol– represent the international movements in painting after 1945.

Almost ten years after Doric, the exhibition that introduced the art of Sean Scully to Greece, the Benaki Museum presents a major retrospective of the eminent artist’s work, entitled Passenger.

In his article, art critic Kelly Grovier explores how Sean Scully's painting 'Backs and Fronts' redefined minimalism when first presented at PS1 in New York in 1981. Consisting of 11 panels composed of richly coloured stripes, this 20-foot-long painting encapsulates Scully's influences from art historical figures such as Picasso and Mondrian to jazz music and moroccan fabrics. The radical dynamism of the painting – both in terms of colour and movement – was unseen at the time, and translated into an artwork strong enough to rejuvenate the abstract painting scene. Read the article with the below link.

For this exhibition conceived as a Gesamtkunstwerk – gathering paintings, sculptures and installations including new works never seen before – Ilya & Emilia Kabakov are turning Dallas Contemporary into a rundown museum. The show will be a complete immersion into the couple's artistic vision – which is mostly informed by art history, music, theatre and architecture. The exhibition is curated by Peter Doroshenko and will be accompanied by a catalogue.

This group exhibition focuses on the creation of order in art as an attempt to make today's imbalanced world tangible. Hanne Darboven’s large scale installation 'Ost-West-Demokratie' (1983) visualises the phenomenon of time with the aid of a cross-sum system developed by the artist in the 1970s.

In his multifaceted work, Bertrand Lavier questions reality and its representations. Gathering around 30 works by the French artist, this exhibition offers a retrospective view on his oeuvre. Starting in the 1980s, every important work group until today is presented, like his ‘Walt Disney Productions’ or his ‘Objets superposés.’

Conceived in close collaboration with the Succession Marcel Broodthaers, this exhibition presents all 36 Plaques of the celebrated series produced between 1968 and 1972. “These plaques are fabricated like waffles, you know” said the artist of these works that explore semantics by appropriating various strategies of visual communication and advertising.

We were delighted to read Jens Asthoff's great review of Liliane Tomasko's past exhibition ‘We Sleep Where We Fall' at our Berlin gallery. Find it in the summer issue of Artforum or online.

Journalist Olivera Tornau interviews HEART Museum director Holger Reenberg about Kimsooja's participative and meditative work 'Archive of Mind' (2016) – exhibited in the recently opened Biennale Socle du Monde. The interview is available in German and French.

The Pilane Sculpture Park celebrates fifteen years with a solo exhibition by Sean Scully. Six monumental sculptures populate the grounds, including new works created especially for the site. They embody Scully's exploration of architectural shapes in a variety of materials such as stone, wood and steel.

Bernd Koberling’s oil painting 'Herbstgesicht' from 1994 is part of the current group exhibition 'Insights'‚ at MKM Küppersmühle, Duisburg. The show gathers around 90 works from the National-Bank’s collection to celebrate the bank’s 100th anniversary. A main focus of the collection is on artists with a connection to the Rhineland region or to the Düsseldorf Academy of Art such as Joseph Beuys, Imi Knoebel, A.R. Penck or Katharina Sieverding.

Bernd Koberling’s ‘Das momentane Stillstehen der Kieselsteine im Flug’ is part of the Sprengel Museum’s summer show, which focuses on spectacular large scale works from the museum's collection. Ranging from colour field painting and geometric abstraction to expressive figuration, photorealism and landscapes, the exhibition, curated by Reinhard Spieler, encompasses more than 30 works by artists like Georg Baselitz, Helen Frankenthaler, Katharina Grosse, A.R. Penck or Rosemarie Trockel.

The Landestheater Niederösterreich in St Pölen premieres a new production of Friedrich Schiller's 'Kabale und Liebe' directed by Alexander Charim, set and costume designed by Ivan Bazak, starring Tobias Artner in the role of Ferdinand and Emilia Rupperti as Luise (both pictured).

Tim Ackermann has interviewed Christian Boltanski for Weltkunst Magazine about his current exhibition at Kewenig Berlin. Click on the below link to read about how the pandemic has affected the artist’s life and work, about  flashes of memory, ghosts that surround us and other reasons why 'Danach' is not just a regular gallery show.

Christian Boltanski’s ‘Petit Monument Odessa’ (1990) is currently part of the exhibition ‘Wilde Kindheit‘ at Lentos Museum, Linz, curated by Sabine Fellner and Elisabeth Nowak-Thaller. Gathering works by 170 artists from 1900 to the present it focuses on moments of happiness and frustration during childhood. 

Curated by Yan Shijie, this first retrospective of James Lee Byars in China encompasses the entire span of the artist's oeuvre, with more than fifty works on display including sculptures, installations, videos and performances along with a comprehensive selection of archive material.

This major exhibition commemorates the centennial of the institution with over 200 works from the collection displayed throughout the entire museum, including 'Father-Petit' (2016) by Bernardi Roig. 'Seeing Differently' is a thorough exploration of the collection that reflects a hundred years of acquisitions and marks a stepping stone towards the future of the institution.

Cabrita / Cerith Wyn Evans: The Mudam Collection and Pinault Collection in Dialogue is the second chapter of the collaboration between both institutions. Cabrita's installation 'À propos des lieux d’origine #1' (2005) is presented at Mudam together with a work by Cerith Wyn Evans.

Through open submissions, the Royal Hibernian Academy in Dublin invites members to present their works to the public. The exhibition, the 190th of its kind, is held exclusively online due to the Covid-19 restrictions.

Dia:Beacon presents a long-term display of works by Mario Merz, including pieces from the collection as well as several loans. The exhibition features works from the 1950s until the 1980s, exploring the development of Merz's iconic shapes such as the igloo, the table and the Fibonacci suite.

Kimsooja was awarded the first edition of the Lucas Art Award. The prize is announced yearly by the Lucas van Leyden Fonds to support visual art projects in the public space of the city of Leiden. A prerequisite for these projects is that they contribute to the identity and role of Leiden as a city of knowledge, art and discovery.

This exhibition brings together four large works from the Ströher collection, gathering more than 2000 sheets altogether: 'Der Regenmacher', 'Soll und Haben', 'Welttheater ‘79' and 'Ansichten ‘85'.

Focusing on the material properties of painting, this exhibition gathers 28 selected works from the Hilti Art Foundation, by Pierre-Auguste Renoir, Lovis Corinth, Ernst Ludwig Kirchner, Pablo Picasso, Verena Loewensberg, Bertrand Lavier, Imi Knoebel, Sean Scully, or Callum Innes.

This publication is a facsimile of the diary the artist kept during his 1989 trip to Paris for the seminal exhibition 'Les Magiciens de la Terre' at Centre Pompidou and Grande Halle de La Villette. Written in about a month, this insightful notebook records Frédéric Bruly Bouabré's fascinating journey in 325 handwritten pages.

Harriet Lloyd-Smith interviews Sean Scully ahead of his major retrospective the Hungarian National Gallery in Budapest, contemplating a sixty year career.

Journalist Christiane Meixner reviews "Im Rhythmus", Raimund Girke's first exhibition at the gallery, in German.

The exhibition includes ceramic works and installations by seven contemporary artists addressing the human body in relation to processes of decay, renewal and transformation. Ikemura contributes with ceramic sculptures, a recent painting, two drawings and a film which all reflect on her own femininity.

“Small Sound Exercises”, 2016 by Bernardi Roig is part of “La emoción del espacio” a group exhibition at la Cúpula del Centro Niemeyer in Avilés, Asturias.

The exhibition comprises all major periods of the artist’s oeuvre from early works of the 1960s, through the minimalism of the 1970s, and the compositions of the 1980s built from expressive bands and marked by plasticity, to his groups of works associated with window and wall motifs, all the way to his recent turn to figuration.

On the occasion of "Im Rhythmus", Raimund Girke's first exhibition at the gallery, journalist Olivera Tornau interviews the artist's daughter Madeleine Girke, gallerist Justus F. Kewenig and art historian Florian Illies about estate management and the painter's legacy. Produced by Arte, the broadcast is available online until 26 September 2021 in German and French.

Christian Boltanski's "Théâtre d'Ombres" (1987) and a group of drawings by Sandra Vásquez de la Horra are part of this group exhibition that explores representations rooted in belief and myth.

In this extensive review of Kimsooja's exhibition at Wanås Konst, Mark Rappolt examines the artist's approach to tradition and craftsmanship while placing her recent works in the global context.

A set of 20 watercolours by Bernd Koberling from last summer is part of the group exhibition "Flora, Fauna & Kroppens tunna skal" at Nordiska Akvarellmuseet. Koberling creates his watercolours – a technique that he continues to use to this day – during his annual visits to Iceland.

Leiko Ikemura was awarded the Art Encouragement Prize from the Japanese Ministry of Education, Culture, Sports, Science and Technology on the occasion of her exhibition ‘Our Planet. Earth & Stars‘ at the National Art Center Tokyo in 2019.

Ghada Amer offers material proof, by means of the phrase couched in enormous letters of red resin―“Hoy el 70% de los pobres en el mundo son mujeres”―, that women are the most marginalized group. By introducing her work into the urban context, the artist claims the right of all women to occupy the public space in a fully political dimension.

On the occasion of his current exhibition at Centre Pompidou, 'Faire Son Temps', Christian Boltanski talks about the concept of retrospective, 1980s New York City, information technologies, politics, his creative process and literary influences.

This first International Contemporary Art Biennale in Rabat is dedicated entirely to women artists, with 63 artists and artist collectives from 27 different nationalities. Ghada Amer participates with a new garden installation entitled 'A oppression creates a state of war'.

Leiko Ikemura's "Usagi Kannon II" is part of Frieze Sculpture at Regent's Park in London, along with works by Iván Argote, Ghazaleh Avarzamani, Huma Bhabha, Peter Buggenhout, Jodie Carey, Ma Desheng, Tracey Emin, Lars Fisk, Barry Flanagan, Charlie Godet Thomas, Robert Indiana, Vik Muniz, Zak Ové, Jaume Plensa, Bettina Pousttchi, Tom Sachs, Lucy Skaer, LR Vandy, Joanna Rajkowska, Tai-Jung Um,  Bill Woodrow and Emily Young. The exhibition is curated by Clare Lilley.

Christian Boltanski’s installation ‘Animitas’ can be seen and heard at Sculpture Park Hellbrunn in Salzburg. The bell project was first shown in 2014 in the Chilean desert, subsequently in different locations in Japan, Scotland, Canada and Israel. The installation in Salzburg consists of 120 Japanese chimes, each attached to spindly sticks – with each wind breeze producing a delicate sound, which Boltanski calls the 'music of the souls'.

The artist’s first solo show in Italy continues the cycle of exhibitions by female artists begun with Maria Lai and later with the duo Goldschmied & Chiari. This is a unique opportunity to observe a recent body of work, including some piece created specifically for the show.

The exhibition is built on a selection of videos on landscapes belonging to the Es Baluard Collection, Palma, Spain. Twelve artists from different latitudes address the space - continuous, infinite, inescapable - which they take to underline, reinvent or intervene in search of diverse aesthetic and political readings.

In more than three decades, William Kentridge has built a sizable oeuvre that spans a broad range of media including animated film, prints and drawings, theatre productions, and sculpture. 'A Poem That is Not our Own' showcases early graphic art and films from the 1980s and 1990s as well as examples of Kentridge’s more recent output.

The show allows the public to reconnect with one of James Lee Byars’ most iconic installations, which has been part of the Vanhaerents Art Collection since 1996. In addition, the audience is invited to discover the creation by Lebanese artist and composer Zad Moultaka that directly engages with Byars’ work and has been specifically commissioned for this occasion.

This exhibition curated by Germano Celant is the first major retrospective dedicated to the artist following his death in 2017. Developed in collaboration with Archivio Kounellis, the project brings together more 60 works from 1959 to 2015. The show explores the artistic and exhibition history of Jannis Kounellis, establishing a dialogue between his works and the eighteenth-century spaces of Calle Corner della Regina.

The exhibition addresses one of the consequences of the Fall of the Berlin Wall, namely the opening up to the world effectuating new cultural exchanges. The artists traveled across many countries photographing timeless landscapes and places of everyday life, Inspired by writings of Proust, Maupassant or Flaubert.

Art critic Emily Ziffer reviews the Viktor Pivavorov exhibition at the Multimedia Art Museum in Moscow for The Moscow Times.

Elizabeth Mangini reviews Mario Maerz's solo exhibition at Pirelli Hangaricocca in Milan, 'Igloos', on view until February 24.

Journalist Jenny Barchfield presents a less-known facet of Cabrita's personality, who is not only an artist but also an avid art collector who supports the younger generation.

This first solo exhibition in Germany gathers around a thousand works by José Antonio Suárez Londoño, making it his most comprehensive show to date. The selection of drawings, engravings and notebooks encompasses most aspects of Suárez Londoño’s creative output, including an entire room filled with new works created on site especially for the exhibition.

This exhibition has been produced in the framework of the Fondation Louis Vuitton’s “Hors-les-murs” program, showcasing previously unseen holdings of the Collection at the Espaces Culturels Louis Vuitton in Tokyo, Munich, Venice and Beijing.

MKM celebrates the German painter who will turn 80 next year with the most extensive retrospective exhibition until now, presenting the result of the artist’s lifetime oeuvre. The show will be accompanied by a comprehensive catalogue.

Laura Cumming reviews 'Not Everyone Will Be Taken Into the Future', Ilya & Emilia Kabakov's exhibition at Tate Modern in London, on view from 18 October 2017 until 28 January 2018.

'The Utopian Projects' presents more than twenty of the Kabakovs’ scale models created between 1985 and 2017 that reflects the couple limitless imagination. Sensor-activated music, light, and theatre-like mechanisms invite the viewers to interact with these fantastic miniature worlds.

This retrospective will travel to Museo Nacional Centro de Arte Reina Sofía, Madrid, in October 2016, and to the Kunstsammlung Nordrhein-Westfalen, Dusseldorf, in early 2017.

Twenty four years after Broodthaers' retrospective at the Jeu de Paume, this exhibition focuses on 'Musée d'Art Moderne – Département des Aigles', the artist's most iconic installation in the form of a museum which he ran between 1968 and 1972.