"Sean Scully: Passenger – a Retrospective" at The Museum of fine Arts – Hungarian National Gallery in Budapest is Sean Scully's first retrospective in Central Europe. It 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. The around sixty works on display will include monumental paintings and paper works as well as sculpture and photography.

The exhibition is curated by Dávid Fehér and focuses Scully's way to reinterpret the traditions of abstraction and to broaden its definition: viewed from the perspective of his art, visitors can look at the classical pieces in the collection of the Museum of Fine Arts and the history of painting with fresh eyes.

Works by Leiko Ikemura are part of the exhibition "Human After All: Ceramic Reflections in Contemporary Art“ at Princessehof National Museum of Ceramics in Leeuwarden, The Netherlands. 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. Most of the exhibited works by established as well as emerging artists from different countries are presented in The Netherlands for the first time.

The exhibition was curated by Tanya Rumpff.

“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. Curated by María Toral, the sculpture is the protagonist of this space created by the Brazilian architect Oscar Niemeyer.

Bernardi Roig together with other artists, such as Magdalena Abakanowicz, Eduardo Chillida, Pablo Picasso, Henry Moore or Eusebio Sampere, embrace a 118-year time period. A temporary journey on the evolution of the forms, materials and techniques of this medium. From figurative to pure abstraction. 

Christian Boltanski's "Théâtre d'Ombres" (1987) and a group of drawing's by Sandra Vásquez de la Horra are part of "Le Mauvais Oeuil", a group exhibition at the FRAC Auvergne, Clermont Ferrand, France. 

Owing its title to a video work by Clément Cogitore: "The Evil Eye" (2018) this exhibition draws on representations rooted in belief and myth. The evil eye also manifests itself through the evocation of great historical tragedies - war devastation, terrorism, economic disaster - and through the omnipresence of enigmatic, prophetic or threatening female figures who, like the Fates of Roman mythology, seem to weave the threads of a fatal destiny. The evil eye calls as much for superstitions rooted in the collective imagination as for the most current phenomena of belief conveyed by the prognosis - realistic or fantasized - of the inevitable collapse of our civilization.

The Musée de la Mer located in the bay of Cannes, in the Royal Fort on Sainte-Marguerite Island, is hosting an exhibition with works by Elger Esser. Esser’s lyrical landscape photographs are exhibited alongside the permanent collections of this maritime institution, specialising in underwater and terrestrial archaeology.

Leiko Ikemura has been invited to Kunsthalle Rostock to create a dialogue between her own works, strongly influenced by her East Asian background, and works by different artists from Eastern Germany or Eastern Europe. 

On view are 44 works by Ikemura, including painting, sculpture, watercolours as well as photographs from a series entitled "Fiori Mori" (2020) which has never been exhibited before. From the museum's collection Ikemura has selected works by Ilya & Emilia Kabakov, Sabine Moritz and Kate Diehn-Bitt. Also included are artists like A.R. Penck, Magdalena Jetelová or Alicja Kwade. Brought into dialogue these different artistic positions address topics such as migration, interculturality and identity.

Wanås Konst Sculpture Park presents a solo exhibition by Kimsooja with site-specific installations, video works and paintings. Interweaving with the surrounding nature the exhibition becomes a space for stillness and introspection. At its core is a planting project in which some of the artist's main interests are united. Flax is cultivated on site creating a conceptual link between agriculture, textiles and painting. In continuation of her well known "Laundry Woman" series, Kimsooja makes use of traditional Swedish textiles that are installed in the Sculpture Park's beech wood forest. Further key works of the artist like her emblematic "Bottari" are installed in the Wanås Art Gallery and in the foundation's historic hay barn Kimsooja has created a transcendent mirror floor installation.

On March 1, the 7th Annual Award of The Art Newspaper Russia took place. 2018 winners in categories “Museum of the Year”, “Exhibition of the Year”, “Book of the Year”, “Restoration of the Year” and “Personal Contribution” were announced at the Gostiny Dvor. 

The annual award of The Art Newspaper Russia is one of the most anticipated events in the art world, an acknowledgment of outstanding achievements in the field. The award highlights the past year's most significant events in Russian art both in Russia and abroad, as well as the work of patrons of the art in developing and preserving cultural heritage. The choice of winners was determined by both public response and the professional community's feedback. 

EXHIBITION OF THE YEAR - “Ilya and Emilia Kabakov. “Not everyone will be taken into the future.” Tate Modern (London). The State Hermitage Museum (St. Petersburg). The State Tretyakov Gallery (Moscow).

The exhibition of Ilya Kabakov and his wife and co-author from the late 1980s onwards, Emilia Kabakova, is an inspiring example of international cultural cooperation. From the very beginning, the project was intended for three museums: Tate Modern, the Hermitage and the Tretyakov Gallery (with the support of Novatek). The organizers state that this exhibition is the first large-scale retrospective of the founder of Moscow conceptualism, who became famous in the world as the one who invented the “total” installation. The exhibition includes works created by Ilya Kabakov during the last 60 years, from the 1960s to today.

The name of the project refers both to the mid-1970s text by Kabakov and to the installation of the same name and encourages the viewer to discuss the role and place of art in our life. At each museum, the exhibition had its own structure, since space was a key concept for Kabakov. The artists had several hundred exhibitions at leading museums around the world, while in Moscow and St. Petersburg there had been shows of separate installations. But the project “Not everyone will be taken into the future,” where the artist's evolution was examined from an academic and comprehensive perspective, strengthened Ilya Kabakov’ status of a classic of contemporary art.

The most famous “born in the USSR” artist in the world, Kabakov seriously influenced the post-Soviet art evolution. The fact that his works have been extensively shown to Russian viewer, is especially important today when the society dramatically rethinks the Soviet experience, which received a universal existentialist interpretation in Kabakov’s oeuvre. Commemorating the exhibition, the creative couple donated Ilya Kabakov's Moscow workshop at Sretensky Boulevard to the Tretyakov gallery. The artist used to work there from the early 1970s to the late 1980s. Now it will be a museum devoted to the emergence of Moscow conceptualism and its heroes.

KEWENIG is proud to present the most comprehensive catalogue on Ghada Amer's ceramic work. The book showcases pieces that Amer created during her residencies at Greenwich House Pottery, New York, in the years 2014 to 2017 as well as a photographic documentation of her most recent work in the studios of Cerámica Suro in Mexico. It is published through DISTANZ Verlag and contains texts by Justine Ludwig and Britta Schmitz as well as an interview with the artist by Sebastian Preuss.

Pedro Cabrita Reis's new installation is located in front of MAAT museum and consists of two illuminated aluminium towers and was commissioned by E.D.P. Foundation, Lisbon.

The Daniel and Florence Guerlain Drawing Prize, which has already showcased over thirty artists since its creation, this year pays tribute to three artists living in Europe. Their work will be on view at the Parisian Salon du Dessin, where the winner will be announced on the 22 March.