Every year since 1989, the Praemium Imperiale is awarded in five different disciplines - music, painting, sculpture, architecture and theatre/film and aims to celebrate artistic fields not covered by the Nobel Prize in Literatur. El Anatsui, who is based in Nigeria, is the first Ghanaian to win the prize. The winners of this year’s Praemium Imperiale international art prize, awarded by the imperial family of Japan on behalf of the Japan Art Association, were announced September 12.

The work of Russian contemporary artists Ilya and Emilia Kabakov will be explored in a major exhibition at Tate, London. Deeply rooted in the visual culture of Soviet society and yet speaking equally to universal themes, this major exhibition explores the theme of failed utopia. Combining the artists’ characteristic use of melancholia, fictional characterisation and humour, the exhibition traces a line from Ilya Kabakov’s early paintings, drawings, albums and installations made in Moscow before his emigration to the West in 1987, to the collaborative projects made with Emilia in America since 1988, including immersive installations and architectural models.

The exhibition is organised by Tate Modern in collaboration with the State Hermitage Museum, St Petersburg and the State Tretyakov Gallery, Moscow.

The weather is all around us and inescapable. Nobody can say: ‘I don’t like it and therefore I opt out of it.’ To what extent do climate and weather events influence nature, human civilization and culture? Scientific and statistical climate research as well as our daily dealings with the weather are the subject of this exhibition and its accompanying programme of events. Visitors of the exhibition will encounter weather and climate in a wide range of forms, among them weather forecasts, documents about natural disasters, solar and wind energy, aerodynamics, weather phenomena as theatrical effects, country sayings, floods, colds and the pharmaceutical industry, human and animal clothing, divine anger and ball lightning.

In addition to looking at the weather through the lens of cultural and artistic reception, the exhibition also focuses on the scientific exploration and the history of meteorology as well as on current aspects of global climate change. Despite scientific research and political efforts, the problem remains far from being solved. The exhibition and the accompanying programme of events in Bonn will not only endeavour to shed light on different assumptions of the climate debate through scientific and artistic means, it also sets out to heighten sensitivity and direct attention to the complex and vital system that is our atmosphere.

Kunstmuseum Liechtenstein is dedicating the Korean-born artist Kimsooja (*1957) a comprehensive solo exhibition.

In her installations, performances, video and photo work, Kimsooja unites fragmentary observations to an entity of encounter for different places and people, where duration and temporality as well as the metaphoric complexity of personal experience, cultural backgrounds and historic references play an essential role. Frequently the works revolve around the subject of textile materials and deal with the activity of sewing. Thus the artist equates her task with that of a needle, through which different parts, that is, different cultures and standpoints are brought together. Here a linear perception of time recedes into the background. Kimsooja’s video installations are especially characterized by a timelessness where the present and past merge into each other.
The exhibition is a production of Kunstmuseum Liechtenstein, curated by Christiane Meyer-Stoll.

BIENALSUR is the first International Biennial of Contemporary Art of South America. By means of contemporary art will simultaneously connect over 32 cities in 16 countries and will gather over 350 artists and curators from the five continents.

The BIENALSUR exhibition will take place between September and December 2017. Conceived on the basis of a global network of institutional collaboration that erases distances and borders, and upholds singularity in diversity, BIENALSUR proposes a vast territory built upon the perspective of a "Global South".

BIENALSUR is organized by the Universidad Nacional de Tres de Febrero (UNTREF) of the Argentine Republic. Its Rector, Aníbal Jozami, is the General Director and Diana Wechsler, the Artistic and Academic Director. Over 95% of the works of the Biennial were selected after a careful screening process that included two international open free topic calls. These open calls invited artists and curators to conceive specific original projects. More than 2.500 proposals from 78 countries were submitted. These calls revealed the recurrent presence of projects in active conversation with each other both inside and outside the world of art.

The Hirshhorn Museum and Sculpture Garden will present “Ilya and Emilia Kabakov: Utopian Projects,” a survey exhibition featuring the work of the acclaimed Russian artists Sept. 7–March 4, 2018. The exhibition, spanning 1985 through present day, will comprise more than 20 of the Kabakovs’ maquettes, whimsical models, for projects realized and unrealized, including monuments, allegorical narratives, architectural structures and commissioned outdoor works. Opening nearly 30 years after the Hirshhorn hosted Ilya Kabakov’s first major U.S. exhibition, these intricate creations invite the viewer into their surreal world in miniature and offer a rare glimpse into the duo’s artistic process.

Schirmer / Mosel launches Elger Essers catalogue at their Showroom in the heart of Munich. The artists most recent series presents landscapes and places on the Lebanon coast: En Naqora, Saida, Enfeh; along the river Nile in Egypt: Aswan, Luxor, Salwa Bahry, El Quarwad; and Israel: Sea of Galilee, Akko. As in his previous series taken in Italy and France, his photographs pay tribute to the universal lure of a seemingly infinite horizon and ultimate calm in the foreground.

The objective of the International Contemporary Art Biennial of South America is to establish a real presence of South America in the global art arena and contribute to the creation of a cultural citizenship. To do so, it was necessary to define a format and a working modality whereby the art of the region is integrated not just as a mere diversity quota. It must respect singularities by redefining conventional positions, sophisticating relationships, recovering traditions, creating bonds between spaces and times, and maintaining consistency. In this regard, the distinctive features of the unprecedented model of the first edition of BIENALSUR are its collaborative institutional networking modality from the perspective of a "Global South", the creation of its own territory with multiple locations and simultaneous events, and a curatorial approach that goes beyond conventions. One of the most innovative proposals of BIENALSUR is the design of its own cartography. It covers a specific territory and itinerary whose kilometre 0 marker is the city of Buenos Aires, a hub that reaches out to a South American continent of a planetary-scale dimension, gathering artists and curators from the five continents. The International Curatorial Council Of BIENALSUR is formed by , Diana B. Wechsler, Estrella De Diego, Ticio Escobar, Hans Ulrich Obrist, among others… and international artists Christian Boltanski, Regina Silveira, Pedro Cabrita Reis, Tatiana Trouvé, Iván Navarro, Regina Silveira and others…

The Museum der Moderne Salzburg is organizing a comprehensive exhibition of the celebrated South African artist William Kentridge (born 1955, lives in Johannesburg) at both of its venues. This large-scale exhibition will coincide with the premiere of the opera Wozzeck produced by Kentridge for the Salzburg Festival. Kentridge was known in the 1990s for his expressive animated drawings and video installations and has worked for many years on opera and theater productions. His multimedia productions combine skilled graphics with theatrical vitality. His close relationship with the theater as an actor, producer, and set and costume designer highly informs his work as a visual artist. In his work Kentridge is particularly interested in the effects of colonialism, revolutions, and exile. His confrontation with the significance and ways of expressing time is a leitmotif throughout his work, which ranges from the epic to the everyday, from the casual to the tragic. The Mönchsberg exhibition will feature eight large-scale multimedia installations, one of his first and his latest works. The part of the exhibition at the Rupertinum is devoted to Kentridge’s engagement with theater and opera. It will feature posters and drawings, designs, models, and costumes created since the late 1970s for major theater and opera productions.

Imi Knoebel‘s origins are to be found in Minimalism which has characterized his artistic work from its earliest beginnings right up to the present. Since the onset of the sixties when he joined the circle of young artists which had collected around Joseph Beuys and became an important contributor, there have however been very few who have followed up on the most fundamental questions regarding his work. And so the exhibition at the Skulpturenpark presents his Raum 19 (Room 19) a work which refers to the first years of Knoebel's career and yet at the same time embodies the continuity within his work. Raum 19 has thus been repeatedly described as a key work which exemplifies in showing within one single installation the relationships of expansive spatial bodies to extensive stratifications. It is the transitions and the interconnections of the works, also with each other, which play an important part in the reception of Knoebel’s work. This also applies to his coloured panels, a small selection of which Knoebel will be exhibiting in the Skulpturenpark.

Leiko Ikemura is intensely involved with the artistic positions of classical modernism in Europe, including the art of Odilon Redon and Emil Nolde. There are remarkable parallels in Emil Noldes' themes and motifs in her work, which do not appear at first sight and which the artist also deliberately does not follow. These get even more complex as they relate to Europe as environment as well the works relate as an echo of Ikemuras Japanese origins. The exhibition in Ahrenshoop examines some aspects of this affinity and debate.

The project is part of a wide-ranging program of exhibitions and events organized by the Nolde Foundation in the context of the 150th birthday of Emil Nolde 2017 in several museums in North Germany and Denmark. Under the collective heading "Nolde in the North", institutions including Schleswig Holsteinisches Landesmuseum Schloss Gottorf, Lübeck Museums, Kunsthalle zu Kiel and Kunstmuseum Ahrenshoop work together.

Abstraction is considered as one of the significant formal articulations of modern art, and it is most closely associated with painting.

The relentless analysis of the medium, breaking it down to its zero point, by the avant-garde of the 1910s was followed by a recurrent burgeoning of nonrepresentational painting, particularly in Abstract Expressionism, Informalism, and Minimal Art. Aftermodern abstraction of the 1960s was informed by skepticism of painting and the very idea of creative authorship; this was counterpointed with sensuality and intuition in the postmodern phase from the 1980s.

Featuring some sixty different art positions, the exhibition Abstract Painting Now! will place the focus on the present-day international situation of the nonrepresentational easel painting, covering the full range of a still significant painterly practice. The historical basis of the show is the development that followed upon Abstract Expressionism, carried above all by Gerhard Richter and Sigmar Polke. While the former after a period of agony, in which his grey “Inpaintings” were created, turned to the beautiful and seemingly expressive, the latter used abstraction as an ironic paraphrase, thus commenting on the veracity of the brush stroke as a mark of the artist self.

Alison and Peter W. Klein have exhibited their art collection in the museum designed by Folker Rockel since October 2007. The five story building, which is designed on ecologically sound principles, is built onto Peter W. Klein's former company building to form an aesthetically integrated unit. In the interior of the museum, elements of industrial architecture are incorporated. The large glass windows are unusual for an art museum. Even in the exhibition halls there are windows that give a view of the surrounding countryside. Contemporary art and agriculture are presented here next to each other as an exciting contrast.

Christian Boltanski is dedicated to the special project 2017 of the City of Bologna. The project, curated by Danilo Eccher, takes place from June to November through a path marked by various interventions and different places of the city, which allows to present Boltanski's work in all its expressive dimensions: a large anthological exhibition at MAMbo - Museum of Modern Art in Bologna, a theatrical show at the Arena del Sole Theater, an installation at the former dust bunker in the Lunetta Gamberini Garden and a special project inside the former Giuriolo parking lot.

Limits, boundaries and frontiers – for a long time in the eye of the media coverage – are investigated on this occasion in their cultural, geopolitical and historical-identity declarations in a series of works by international artists within the exhibition "The suspended step. The exploration of the limit". The initiative goes beyond the boundaries of the monumental complex of San Micheletto, the seat of the Ragghianti Foundation, to extend itself to the historic center and the walls of Lucca. The concept, that of the limit, which in the exhibition path is hosted within the halls of San Micheletto deals with its "structural" aspects, stepping away from the documentary dimension and the theatricality of suffering through multidisciplinary works united by thematic nuclei and combined with a complex of textual elements.

This exhibition includes works by renowned contemporary artists, such Marina Abramovic, Alighiero Boetti, Bas Jan Ader, Peter Greenaway, Joseph Kosuth, Marisa Merz, Mimmo Paladino, Bernardi Roig, Santiago sierra among others.

Surrealism, abstract expressionism, minimalism – throughout the summer and autumn the National Gallery is showing some of the best-known artists of the 20th century.

The art collection of the Swiss businessman and philanthropist Hubert Looser is considered one of the finest private collections of contemporary art in Central Europe. With a predominance of surrealism, abstract expressionism, minimalism and arte povera, it tells the story of some of the most important movements in 20th-century art in the United States and Europe.

Museum Tinguely is to host in 2017 Switzerland’s first major retrospective of Belgian artist Wim Delvoye. Since the late 1980s, Delvoye has been known for works that rest on intelligently witty admixtures of the profane with the sublime, where tradition clashes with utopia, and craftsmanship with high-tech. Probably his best known works are his Cloacas, which mechanically reconstruct the physiological processes that take place inside the human body between ingestion and excretion and so visualise one of the basic constants of our existence. The artist’s more recent replicas of construction machinery and trucks using Gothic-style ornaments attest to his delight in aesthetic experimentation and monumental works based on professional constructions and built out of laser-cut steel plates. The exhibition in Basel, which was created in collaboration with MUDAM Luxembourg, will run from 14 June 2017 to 1 January 2018 and will showcase the whole gamut of Delvoye’s work from his early days to the present.

As documenta 14 continues its journey in Athens, having the National Museum of Contemporary Art (EMST) as its main exhibition venue, an important part of the EMST collection travels to Germany, to be part of documenta 14 program in Kassel. The exhibition >> ANTIDORON. The EMST Collection << occupies the whole emblematic building of Fridericianum. It is curated by Katerina Koskina, supported by Stamatis Schizakis and Tina Pandi, Assistant Curators and Iro Nikolakea in the Architectural design.

According to the exhibition curator, Sema D’Acosta, “this show, mostly featuring videos and photographic works, is focused on light, a core element which is not only the basic constitutive substance of any film or photo, but also a mouldable energy able to shape the atmosphere of a scene or alter the perception of an image. Light makes reality visible. Without it, we would not exist. Down through the ages, the nature of light has been a central question both for scientists as well as philosophers.”

The exhibition is divided into two parts: light-landscapes and light-characters. The first section includes artworks by artists like Cristina Iglesias, Jordi Colomer, Candida Höfer and Juan Uslé, among others. In their works one can observe a correlation between light and darkness, an alternation between day and night that marks the passing of life. Assimilating it calls for a series of intermediary intervals (dawn, morning, noon, afternoon, evening, dusk, nightfall, night, early morning...) and their corresponding degrees of shade and shadow..

The second section showcases artworks related with light-characters by artists such as Bernardí Roig, Sam Taylor-Wood, Bruce Nauman and Julião Sarmento, among others. Their works evince how light conditions our being in the world. Its impact on us dictates how others see us. It is an element that enables us to see the detail of a face or to devise an evocative silhouette able to tell a story.

The exhibition is a cooperation between the Centre of Polish Sculpture in Orońsko and the Foundation Signum. It includes works by renowned artists of historical avant-garde and contemporary artists, such as Laszlo Moholy-Nagy, Jesus Rafael Soto, Francisco and Stefan Themersonowie Wojciech Fangor, Kimsooja, Mikołaj Grospierre.

Curator: Grzegorz Musiał

Behold, thus are human beings: weak, fearful, doubting, handed over; but, behold, thus too are human beings: kind, loving and always hopeful. The image of this complex man of our time, who is always different, never the same, who has many facets, who is sometimes vulnerable and sometimes violent, who another time astonishingly and perceptively does good: That is the image of man that today’s artists are showing. This exhibition, which combines the motto of the Katholikentag 2016 with the anniversary of the Reformation in 2017, will look at contemporary artists’ views of human beings in our time. In the course of several chapters, dedicated to different aspects of being, people’s sensitivities, the unspeakable, the unutterable of their existence and their actions will be shown by means of photography, painting, sculpture, videos and installations.

There are images of ourselves that we do not like to look at; there are those that we see again and again and that insert themselves into human lives from birth to death. These are images that are emotional and moving, that accuse and reconcile, that keep asking the same question: what makes us human?

International contemporary art meets the spiritual figure of Luther — this is the starting point for the exhibition Luther and the Avant-garde presented by the Stiftung für Kunst und Kultur (Foundation for Art and Culture), in cooperation with Reformationsjubiläum 2017 e.V.

The exhibition will not focus on Martin Luther as a historic figure but as a visionary and avant-gardist of his era. The historic prison in Wittenberg will serve as a central exhibition venue and is being renovated and opened to the public on the occasion of the exhibition.

To coincide with the 2017 Venice Art Biennale, Axel Vervoordt and Daniela Ferretti, Director of the Palazzo Fortuny, will present their sixth exhibition: Intuition. Organised by the Axel & May Vervoordt Foundation and the Fondazione Musei Civici di Venezia, the exhibition will explore how intuition has, in some form, shaped art across geographies, cultures and generations. It will bring together historic, modern and contemporary works related to the concept of intuition, dreams, telepathy, paranormal fantasy, meditation, creative power, hypnosis and inspiration.

Gotthard Graubner (1930-2013), the oldest artist in this exhibition, was associated with the Düsseldorf Art Academy as both a student and a professor. He was known for his non-representational atmospheric paintings on dense fabric, which developed a physical spatiality through the application of varied layers of paint; he called these objects "Farbraumkörper" beginning in the 1970s. The term is also the title of the current exhibition, as it relates to the relationship between space, form and color, which the artists Knoebel, Palermo and Ruthenbeck also explored in their works.
Knoebel (*1940) combines abstract painting with industrial materiality and color. Through his serial approach, he tests the possibilities of a minimalistic visual language. Palermo (1943-1977) pursued a conceptual tactic in his confrontation with Malevich, which he followed not only in his three-dimensional pictorial objects, but also in the expansion of painting into the physical exhibition space. The sculptor Reiner Ruthenbeck (1937-2016) examined the physical properties of the material in his abstract objects and installations, thereby creating stimulating contrasts through his use of opposites.
The 2013 comprehensive show “When Now Is Minimal” already attested to Sammlung Goetz’s commitment to a variety of minimalist positions. In contrast, the exhibition "FarbRaumKörper" presents a further aspect of this collection area with 70 works by four older artist personalities associated with the Düsseldorf Art Academy.

Curators: Karsten Löckemann and Leo Lencsés

This sample from across South Africa's burgeoning contemporary art scene lives up to its title by offering a vivid and often unsettling insight into the challenges faced by a nation still struggling to overcome the legacy of its past.

Finally there is a presentation of contemporary works by artists from Africa and from African backgrounds, all of which are owned by the Louis Vuitton Foundation. These represent a wider diaspora and tend to consist of artists with higher international profiles.

The Socle du Monde Biennale was founded in 2002, making it the oldest Danish biennale focusing on contemporary art. It is named after Piero Manzoni’s groundbreaking sculpture Socle du Monde, one of the main masterpieces in the HEART collection. Socle du Monde 2017 presents a wide range of works. Paintings, installation art, sculptures and performances – from colourless paintings, shit in a can and live chickens to art exchanges and a dancing light robot.

The biennale celebrates Piero Manzoni by turning its gaze partly towards the past, partly to the future as it presents a carefully chosen selection of exciting artists. It also presents a wide range of works that have never before been shown in Scandinavia.

Avec Ciao Italia, le Musée national de l’histoire de l’immigration rend compte pour la première fois à l’échelle nationale, de l’histoire de l’immigration italienne en France, qui reste à ce jour la plus importante de l’histoire française. Dans un dialogue original et fécond entre documents d’archives et œuvres artistiques, ce sont près de 400 pièces provenant d’institutions françaises et italiennes qui sont présentées au travers d’un parcours à la fois sensible et pédagogique où figurent les artistes Giovanni Boldini, Giuseppe de Nittis, Gino Severini, Renato Paresce, Filippo De Pisis, Massimo Campigli, Mario Tozzi, Alberto Magnelli, Jannis Kounellis.

The exhibition “moving is in every direction. Environments – Installations – Narrative Spaces” traces the history of installation art from the 1960s until today with a focus on narrative structures. As the visitors move through the exhibition, they explore expansive walk-in environments, video and sound installations, as well as cross-media works especially developed for the exhibition. The non-linear narrative structure, put forth by Gertrude Stein, to which the exhibition title relates, serves as a starting point for exploring sculptural arrangements, image sequences, or spatially staged narratives. Within the approximately 3,500 square metres of exhibition space, there are installations by Joseph Beuys, Marcel Broodthaers, Peter Fischli/David Weiss, Isa Genzken/Wolfgang Tillmans, Bruce Nauman, Susan Philipsz, Pipilotti Rist, Bunny Rogers, Gregor Schneider, Thomas Schütte, Christopher Kulendran Thomas, and Wolf Vostell.

From 25 February to 3 September 2017, the Deichtorhallen in cooperation with the Hanne Darboven Foundation will present the exhibition PACKED TIME at the Falckenberg Collection, which will offer a new perspective on the work of the artist Hanne Darboven (1941–2009). This will be the third time that the Deichtorhallen has devoted an exhibition to the artist. The exhibition PACKED TIME will be curated by Dirk Luckw (General director of Deichtorhallen Hamburg), Goesta Diercks (Exhibition manager of the Falckenberg Collection/Deichtorhallen Hamburg), Florentine Galwas and Nicole Krapat (Scientific directors of the Hanne Darboven Foundation).

Along with the exhibition at the Falckenberg Collection, the Hanne Darboven Foundation will open the documentary center Am Burgberg. One of the responsibilities of the foundation is to research Hanne Darboven’s estate where the artist lived and worked, Am Burgberg in Rönneburg (Hamburg-Harburg), and to make it accessible to the public. For the first time ever, documentary materials that augment the exhibition will be shown.

The exhibition refers to the constant search for justice and freedom with an absolutely humanist approach. These ideas are embodied in four large format installations that combine multiple symbolic and poetic references evoked by the industrial and everyday materials that characterize the artist's production.

The social and natural dimension of man is the theme that Jannis Kounellis invites us to reflect on in this exhibition. It explores the individual and psychic limits of the human being within society as a result of industrial development and the latter in shaping social systems throughout history. In these times of uncertainty and geopolitical restructuring, the poetic work with which Jannis Kounellis sets forth the complex of existence and its political consequences could illuminate us.

"From snake one becomes a beetle, from beetle to raven, from raven to Arab horse,

But you cannot return from horse to beetle.

In the ancient world, metamorphoses were a constant of history.

Death, the moment of balance between past and future, provides the measure.

Death as the origin of symmetry.

Symmetry as Metaphysics. "

Jannis Kounellis

Following the exhibition première in its own building annexed to Kunstmuseum Liechtenstein, the Hilti Art Foundation is now set to mount the sequel entitled "Kirchner, Léger, Scully & more". On the three levels of the exhibition building, which opened in 2015 as an extension to Kunstmuseum Liechtenstein, the Hilti Art Foundation is showing thirty-eight selected paintings and sculptures from its internationally renowned private collection.

The Present Order introduces the collection of the Museum of Contemporary Art. The title is borrowed from an artwork by Ian Hamilton Finlay, which the artist donated to the museum when the collection was founded. The varying inscriptions on the three stone blocks point towards essential issues involved in the presentation of the collection: Present The Order, the elucidation of an order, underlines the fact that systems of order always arise from the ideas of a certain era. Order The Present, the causation of the present, raises the question of the point in time at which art develops. How does it regard and influence its present? Finally The Present Order, the acceptance of an order, issues an invitation to confront the various interpretations that are condensed into a work of art from a contemporary point of view. During the course of one year, the exhibition presents various possibilities of ordering museum inventories, encouraging an active approach towards the collection.

The fascination with shiny and reflective objects characterizes the Schaufler Collection, from which the show SPLIT is curated. Many works combine beauty and coolness with a dash of glamor. Not only the reflective surfaces of the artworks have endeared the collectors, but also subtleties, changes in visual perception and illusion that are expressed in the ambiguous word reflection. Meant is not only the physical process in the work, but so also is the critical thinking associated with the paintings, the images, and their references to the world.

Water is a key element of human history. It is closely linked to terms such as creation and annihilation, life and death, fertility and transience with the subconscious. In the works of the Würth Collection, a variety of references to this natural phenomenon can be found across all epochs and in various materials. Würth presents an impressively diverse exhibition, supplemented by some loans, with art from the Middle Ages to the present.