News

BLACK MIRROR. THE LONG SHADOW OF THE FUTURE

Opening: April 7, 18:00-20:00
April 8 – October 18, 2026

Ludwig Museum, Bupapest

Although the black mirror was originally a divination tool used in magical practices, today the concept of the black mirror mostly refers to the screens and displays of digital devices and their malfunctions, or the “freezing” of devices—in a figurative sense, the switched-off, dark screen shows us a distorted image of the present, thus functioning as a metaphor for technological self-reflection in our culture. 

The exhibition, which can be considered the first stage of a longer and more comprehensive research project, draws primarily on the Ludwig Museum’s collection, in addition to a few invited artists, and through this, it maps the dystopian artistic assumptions and thought experiments of the Hungarian art scene over the past decades.

Exhibiting Artists: 
BLUE NOSES; BORSOS LŐRINC; Luchezar BOYADJIEV; CSÁKÁNY István; ESTERHÁZY Marcell; Endri DANI; Andreas FOGARASI; DROZDIK Orshi; GELLÉR B. István; GERBER Pál; Oto HUDEC; KASZÁS Tamás; KERESZTES Zsófia; Krištof KINTERA; KISSPÁL Szabolcs; Eva KOŤÁTKOVÁ; LAKNER Antal; Ciprian MUREŞAN; Nam June PAIK; Jevhen NYIKIFOROV; PUKLUS Péter; Gentian SHKURTI; SOCIÉTÉ RÉALISTE; SZACSVA Y PÁL; Olekszij SZAJ; SZALAI Tibor; SZOMBATHY Bálint; VÁRNAI Gyula; WALICZKY Tamás; Peter WEIBEL

Curators: József Készman, Borbála Kálmán

Aaaand… Scene / Und… Szene

Opening: 15. April 2026
Exhibition: 16. April – 14. Juni

Shedhalle, Zurich

The international group exhibition Aaaand… Scene / Und… Szene marks the beginning of a new programme at Shedhalle Zürich. Borrowing its title from the moment on a film set when a director calls the end of a take in English or the beginning of one in German, the exhibition treats the exhibition space itself as a scene — a stage on which objects, bodies, and narratives come into relation.

At the centre of the exhibition is the introduction of Re-Props — artistic contributions that function simultaneously as artworks and exhibition infrastructure. The participating artists develop modular works — seating structures, display systems, platforms, partitions, and environments — that shape the spatial conditions of the exhibition while remaining open to transformation in future shows. The term is borrowed from theatre and film production, where it refers to reusable stage elements that reappear across different scenes. At Shedhalle, Re-Props are designed to do the same: to travel through the programme, adapting to new contexts and configurations over the coming years.

Rather than treating exhibition architecture as neutral support, these works make visible what usually stays behind the scenes — the structures that hold an exhibition together and determine how it is experienced. An artist’s bench is also a sculpture. A partition wall is also an artwork. The infrastructure of the show is the show.

Aaaand… Scene / Und… Szene therefore acts less as a finished display than as a first staging — the beginning of a long-term experiment that will continue to evolve throughout Shedhalle’s programme.

Artists: Abdul Sharif Oluwafemi Baruwa, Monster Chetwynd,Céline Condorelli, Katrina Daschner, Liam Gillick, Martins Kohout, Martin Maeller, Sarah Margnetti, Oz Oderbolz, Day Shift Office, Toni Schmale, Natália Sýkorová & Paula Gogola

https://shedhalle.ch/en/ 

PREMIERE! - The Oesterreichische Nationalbank Collection

24. April–4. October 2026

Leopold Museum, Vienna

The Oesterreichische Nationalbank (OeNB), the Central Bank of the Republic of Austria, made a significant financial contribution to the Leopold Museum-Privatstiftung in 1994, thus laying the groundwork for the foundation and success story of the Leopold Museum. The exhibition “Premiere!” honors the long-standing ties between the two institutions, showcasing the impressive diversity of the OeNB’s art collection for the first time in a comprehensive presentation.

Since the late 1980s, the OeNB has been collecting Austrian painting and sculpture from 1918 to the present, with special emphases on the art of the interwar period – especially New Objectivity and post-Expressionism – as well as on works in the area of geometrical and gestural abstraction after 1945.   

The presentation offers a cross-section of the main tendencies in Austrian art: It features works by famous exponents of New Objectivity, including Rudolf Wacker and Franz Sedlacek, as well as independent positions from art of the interwar period, as pursued by Greta Freist and Max Oppenheimer.

In terms of contemporary art after 1945, the exhibition reveals interesting parallels between different generations of artists, for instance between Maria Lassnig and Tobias Pils, as well as Svenja Deininger and Ernst Caramelle. It further highlights the various approaches to abstraction in painting, encountered in the works of artists from Martha Jungwirth to Herbert Brandl. Sculptural works, for instance by Josef Pillhofer, Julia Haugeneder or Constantin Luser, make up another important part of the collection.

The OeNB supports Austrian art and culture through its art collection, its collection of historical string instruments, its Money Museum and banking history archives. With this presentation, the Leopold Museum continues its exhibition policy of showcasing eminent private and corporate collections.

https://www.leopoldmuseum.org/en/exhibitions/152/premiere 

Lebt und arbeitet in Wien-Contemporary Art from Vienna

1.5.–26.10.2026
Opening: 30.4.2026, 19:00

Kunsthalle Wien

Over six months and throughout all its exhibition spaces, Kunsthalle Wien will present the largest survey of the Viennese contemporary art scene to be organised by the institution in over a decade. Sculpture, installation, drawing, painting, photography, performance and video by over 50 artists will be presented within an exhibition that focuses on new commissions and works that have not previously been exhibited in Vienna. The exhibition takes its title from a survey first presented at the Kunsthalle in 2000, continuing and developing a format that seeks to offer a perspective on the dynamic, transnational and culturally diverse communities of artists living and working in Vienna today.

The exhibition will be accompanied by a year-long public programme. A new publication with commissioned texts on each artist and transcripts of conversations between curators, artists and critics living and working in Vienna will be published in German and English. 

Curators: Daniel Baumann, Michelle Cotton & Monika Georgieva

Artists: Brishty Alam, Diana Barbosa Gil, Anna-Sophie Berger, Henning Bohl, Ramesch Daha, Judith Eisler, Scott Clifford Evans, Philipp Fleischmann, Parastu Gharabaghi, Birke Gorm, Jojo Gronostay, Benjamin Hirte, Christine & Irene Hohenbüchler, Emma Hummerhielm Carlén, Iman Issa, Ernst Yohji Jäger, Lukas Kaufmann, Belinda Kazeem-Kamiński, Bouchra Khalili, Ludwig Kittinger, Jakob Lena Knebl, Sebastian Koeck, James Lewis, Angelika Loderer, Irina Lotarevich, Lazar Lyutakov, Harkeerat Mangat, Wolfgang Matuschek, Till Megerle, Christoph Meier, Rini Mitra, Ute Müller, Michaela Polacek ,Lukas Posch, Vika Prokopaviciute, Lucia Elena Průša, Liesl Raff, Shuvo Rafiqul, Hans Schabus, Anna Schachinger, Ashley Hans Scheirl, Katharina Schilling ,Toni Schmale, Nora Schultz, Sergey Spirikhin, Lucie Stahl, Josef Strau, Laurence Sturla, Marina Sula, Huda Takriti, Sergei Tcherepnin, Sophie Thun, Johanna Charlotte Trede, Emily Wardill, Dario Wokurka, Min Yoon

https://kunsthallewien.at/en/exhibition/lebt-und-arbeitet-in-wien-contemporary-art-from-vienna 

Opening of the exhibition by Denisa Lehocká, curated by Lýdia Pribišová

More information coming soon. 

https://www.trencin2026.eu/en/podujatie/opening-of-the-exhibition-by-denisa-lehocka-curated-by-lydia-pribisova/ 

STELLPROBE - Collection acquisitions from the last decade, in a display by Heimo Zobernig

Opening: June 26, 2026
June 25, 2026 - October 4, 2026

Belvedere Vienna

In the summer of 2026, Belvedere 21 will present a large-scale exhibition throughout its ground and upper-floor galleries, showcasing works acquired for the Belvedere collection over the past ten years. In keeping with the profile of the collection, artworks from all periods will be brought together in a spatial installation by Heimo Zobernig—a kind of Stellprobe, a staging rehearsal of sorts. 

Collecting lies at the heart of the museum’s mission. The targeted expansion of its holdings— spanning from medieval to contemporary art—follows programmatic criteria derived from the collection’s profile and a critical reassessment of art history, particularly with regard to gaps and desiderata. Thus, a key emphasis has been—and continues to be—the substantial expansion of the presence of women artists and other historically underrepresented positions within the collection.

This exhibition reflects these priorities and features historical and contemporary works in a display conceived specifically for the occasion by artist Heimo Zobernig.

Curated by Stella Rollig and Luisa Ziaja. 
Assistant Curators: Johanna Hofer and Katarina Lozo

Artists: Katrina Daschner, Heimo Zobernig, Donno Huanca, Margot Pilz, Tess Jaray and others. 

https://www.belvedere.at/en/stellprobe? 

New Humans: Memories of the Future

Opening: March 21, 2026

New Museum, New York

New Humans explores how technological developments have inspired evolving definitions of the “human.”

New Humans: Memories of the Future will inaugurate the New Museum’s expanded building with an exploration of artists’ enduring preoccupation with what it means to be human in the face of sweeping technological changes. New Humans will trace a diagonal history of the twentieth and twenty-first centuries through the work of more than 150 international artists, writers, scientists, architects, and filmmakers, highlighting key moments when dramatic technological and social changes spurred new conceptions of humanity and new visions for its possible futures.

Presenting new and recent works by artists including Sophia Al-Maria, Lucy Beech, Meriem Bennani, Cyprien Gaillard, Pierre Huyghe, Tau Lewis, Daria Martin, Wangechi Mutu, Precious Okoyomon, Berenice Olmedo, Philippe Parreno, Hito Steyerl, Jamian Juliano-Villani, Andro Wekua, and Anicka Yi in the context of works by twentieth century artists and cultural figures such as Francis Bacon, Constant Nieuwenhuys, Salvador Dalí, Ibrahim El-Salahi, H.R. Giger, Kiki Kogelnik, Hannah Höch, Tatsuo Ikeda, Gyula Kosice, El Lissitzky, Lennart Nilsson, Eduardo Paolozzi, Carlo Rambaldi, Germaine Richier, and Elsa von Freytag-Loringhoven, New Humans illuminates artists’ evolving visions of the future. The exhibition surveys the myriad shapes that humanity might take, from robots and cyborgs to haunting, seemingly alien life forms, and moves beyond the field of art by bringing together utopian architects, sci-fi filmmakers, and eccentric writers who imagine physical, virtual, and even post-human worlds. In an age when technological advancements and their unintended consequences seem to be accelerating at uncontrollable rates, New Humans proposes art as a collective form of creative prognostication—a vital self-portrait of the humans we may become.

https://www.newmuseum.org/exhibition/new-humans-memories-of-the-future/ 

Raising Flags 

Stubenbrücke - bridge over the Wienfluss, between MAK and Hilton
1010 Vienna, Austria

24/7, as the wind blows

As part of the project raising flags by museum in progress – the 39th contribution to the series – Andreas Fogarasi has designed four flags, each featuring a well-known Austrian visual symbol. The selected signs represent the visual identity of state and state-affiliated institutions during the respective period and are deeply embedded in the collective memory: Austrian Airlines (1972–2003), ORF (1968–2002), ÖBB (1974–2004), Made in Austria (1978–2004).

By removing these signs from their original functional contexts and transferring them onto the form of the flag, Fogarasi transforms them into emblematic signs of national self-representation. The flags do not function as carriers of explicit messages; rather, they operate as visual condensations of institutional presence, economic power and state-driven identity formation. Their apparent neutrality simultaneously points to the saturation of public space by logos and signets that promise orientation and mark belonging.

The flags unfold their impact in the tension between everyday familiarity and symbolism. Fogarasi's intervention makes visible the extent to which national identity is mediated through design, brand aesthetics and visual recognisability. At the same time, it reveals how strongly these forms of representation are bound to specific historical moments. All four pictograms were created in the years of social upheaval following 1968 and fell out of use in the period of increasing deregulation shortly after the turn of the millennium. Fogarasi thus sets signal markers of collective temporal experience. In this way, the flags become mobile projection surfaces for questions of representation, authority and the role of public institutions. At the same time, they invite reflection on the transformation of visual languages in the context of social and state change over time.

https://www.mip.at/projekte/raising-flags/ 

The East Remains Possible. From the Collections of MG+MSUM, Ljubljana and MoCA-Skopje

Exhibition: 13.11.2025 - 29.3.2026

MoCA, Skopje

The artistic practices originating not in the center of the Western art system, but on its margins—geographical, political, and symbolic—can offer an epistemic and aesthetic framework through which to reexamine the urgencies of our current moment. When these margins are not seen as spaces of inferiority, they can offer a distinctly Eastern European perspective shaped by the experience of socialism, collective utopias, transition, conflict and war, and the collapse of ideological systems in the 1990s. The prevalent artistic topics of the body, irony, ideology, evidence, and utopia respond to these historical experiences, while also engaging with the complexities of the present.

This exhibition, entitled The East Remains Possible, comprising a selection of works from Moderna galerija’s Arteast 2000+ and national collections from Ljubljana, in dialogue with the Solidarity Collection of the Museum of Contemporary Art in Skopje, is precisely about the ever-evolving, omnipresent potentiality and vision for transformation and regeneration—and the constant pull back towards the tragedy of everyday life. It inclines towards the former, believing that there is still space for radically imagining the present. In this light, the exhibition frames artistic production not as passive reflection, but as a generative tool for engaging with the dialectic of disillusionment and possibility. Artistic strategies drawn from the region offer mechanisms for resistance, collective memory, and speculative imagination—tools essential for navigating the dissolution of political and social imaginaries in an era increasingly defined by precarity.

As early as the 1920s, the Group of Constructivists from Trieste envisioned artistic action as a form of aesthetic and sociopolitical revolution within the context of the historical avant-gardes, especially Russian Constructivism. For this reason, it is regarded as an authentic forerunner of the postwar neo-avant-garde tendencies in the region. 

Among other things, our exhibition calls attention to what remains of the idea of Eastern Europe today, and whether we can still speak of “East European art.” After the initial enthusiasm about the victory of liberalism over communism following the end of the Cold War in 1989, it became apparent that the ideal of liberal democracy, which the East had so enthusiastically embraced, had dissipated. In recent years, we have witnessed growing tensions in the region: the rise of new autocratic regimes, ongoing refugee crises, persistent nationalist tendencies in the Balkans, war in Ukraine, the unresolved “Palestinian question,” and genocide in Gaza.

In this context, the question arises: Did the future look better yesterday than it does today? How can we draw on historical experiences, artistic strategies, and alternative forms of knowledge rooted in East European contexts? The artworks in the exhibition may provide some answers, serving as tools for understanding the present—without, seemingly, a clear future—and for finding a path toward different, more inclusive possibilities and a fairer, more solidary world.

The exhibition The East Remains Possible unfolds in two interrelated segments, each of which retells a separate story.

The segment titled Show Me Your Wounds (Regeneration) encompasses the stories of The Body as a Space for Resistance, Ideologies and Subversions, and Irony and Absurdity as Strategies of Critical Distance. This section examines the body, language, and iconography as sites through which artists have performed, resisted, and subverted ideological and affective regimes.

The other segment, titled New Reality as an Artefact of Transformation, retells the stories of Documenting Reality and Utopia as a Space of Social Alternatives. It examines documentation, memory, and utopian speculation as methods of artistic engagement with both historical and possible futures.

In a time increasingly marked by the erosion of democratic forms, ecological catastrophe, and historical amnesia, the works presented here offer practices of remembering, resisting, and imagining—gestures that may help us think the world otherwise.

The Arteast 2000+ collection is the first museum collection focused on East European postwar avant-garde artistic practices within a broader international context. Since its inception in 2000, it has provided in-depth insight into the artistic production of the region, bringing to light the social and political challenges faced by artists in former socialist countries. The collection emerged within its own “space of utterance,” both in terms of the geopolitical territory of Eastern Europe and as a conceptual space shaped by power, identity, and discourse. From the very beginning, the collection has encouraged reflection on the processes of historicization: Who writes art history, for whom, and with what intention? At the same time, it creates the conditions for a critical redefinition of the existing artistic canon, opening space for diverse and often overlooked narratives.

The Solidarity Collection of the Museum of Contemporary Art Skopje originated as a global response to a disaster—the earthquake that devastated the city in 1963. Responding to a call for artistic solidarity, artists from around the globe contributed their works, co-creating a collection based on international exchange, responsibility, and dialogue.

Artists: Marina Abramović | Maja Bajević | Joseph Beuys | Geta Brătescu | Violeta Chapovska | Chto Delat | Venko Cvetkov  | Braco Dimitrijević | Vlasta Delimar | Orsolya Drozdik | Stano Filko | Alla Georgieva | Tomislav Gotovac | Ion Grigorescu | Group of Constructivists from Trieste (Avgust Černigoj, Eduard Stepančič, Giorgio Carmelich) | Hristina Ivanoska | Gjorgje Jovanovik | Alexander Kosolapov | Ivan Kožarić | Katarzyna Kozyra | Andreja Kulunčić | Vladimir Kuprijanov | Laibach | Kazimir Malevich | Goranka Matić | Alex Mlynárčik | Petre Nikoloski | Ahmet Ogut | OHO | OPA | Irena Paskali | Dushan Percinkov | Géza Pernecky | Marko Pogacnik | Dmitry Prigov | Niho Pushija | Josef Robakowski | Driton Selmani | Nedko Solakov | Mladen Stilinović | Nebojša Šerić-Šoba | Raša Todosijević | Igor Toshevski | Endre Tót | Goran Trbuljak | Simon Uzunovski.

Curators: Bojana Piškur, Martina Vovk (MG+MSUM, Ljubljana); Ivana Vaseva, Blagoja Varоshanec, Iva Dimovski and Vladimir Janchevski (MoCA-Skopje).

Exhibition design: Jovan Ivanovski

Visual design: Iliana Petrushevska

https://msu.mk/exhibition/the-east-remains-possible/ 

EXPEDITION TO THE WORLD'S OCEANS

through April 6

Bundeskunsthalle Bonn 

Approximately 70 % of the Earth’s surface is covered with water, of which 96.5 % is seawater. The oceans are thought to be the source of all life on earth. They provide raw materials, energy, food, transport routes and function as a climate machine. Humans have been using the ocean as a global highway for 4,000 years, so it seems almost paradoxical that today we know more about the surfaces of the Moon and Mars than about the world’s oceans, only 5 % of whose depths have been explored.

IT SEEMS ALMOST PARADOXICAL THAT TODAY WE KNOW MORE ABOUT THE SURFACES OF THE MOON AND MARS THAN ABOUT THE WORLD’S OCEANS.

The complexity of the theme of the world’s oceans means that it can be approached from many different perspectives and angles. Taking a cultural, historical and scientific approach, our immersive exhibition focuses on the exciting and pleasurable exploration and investigation of different facets of maritime worlds and their processes of transformation. The exhibition concentrates on three main subjects: The deep sea with its mysterious habitats and fragile ecosystem, the oceans as a contested economic space and the basis for globalisation and, finally, the oceans as a place of longing and a space for the transfer of people and ideas. These mysterious realms have always inspired creative and enquiring minds: alongside objects from the realms of nature, science and technology, a selection of historical artefacts and works of contemporary art sheds light on the endangered beauty of maritime flora and fauna and encourages reflection on the colourful and chequered history of man and the sea.

EXPERIENCE THE DEEP SEA UP CLOSE – DIGITAL EXPEDITIONS INTO UNKNOWN WORLDS

Dive into the fascinating world of the oceans – with two spectacular immersive stations that bring the "oceanic feeling" to life with striking immediacy. The elevator to the deep sea takes you on a journey from the ocean's surface to the bottom of the Mariana Trench – eleven kilometers down. In a retrofuturistic cabin, inspired by Jules Verne's submarine Nautilus, the steel hatches open seven times, revealing the mysterious worlds of the deep sea: Glowing jellyfish, transparent squid, and the legendary colossal squid meet you through the thick bulletproof glass – a collective experience that combines wonder and contemplation.

The experience is even more intense in the diving station on the seabed: Thanks to virtual reality technology, you enter a virtual deep-sea habitat and explore life in the darkness of the oceans. The highlight is a virtual dive to the wreck of the HMS Endurance, which lies a good 3,000 meters underwater, at a depth no human can ever reach – and you're right there!

Both installations make the invisible visible and the unimaginable tangible. They show that the deep sea is not inaccessible – it is part of our world, vulnerable and precious. Experience the magic of the oceans like never before!

Artists: Abraham Storck, Ina Makosi, Mark Dion, Allan Sekula, Edward Burtynsky, Joan Fontcuberta, Margarete and Christine Wertheim, Steffen Blandzinski, Leopold and Rudolf Blaschka, Alfred Erhardt, Mandy Barker. 

https://www.bundeskunsthalle.de/en/expedition-weltmeere 

Being a Girl*!? - From Panel Painting to Social Media

October 31, 2025 - April 6, 2026

Lentos Kunstmuseum Linz

What is it that motivates girls nowadays and what role models have been handed down to us from the past? Contemporary art often deals with images of girls in socially motivated contexts: coming of age, self-improvement trends – often in interaction with social media – fluid genders, issues surrounding diversity, interculturalism and inclusion.

Alongside early representational portraits and images of saints, female children and adolescents have appeared throughout the ages as artists’ models or as an expression of the conflict between blossoming life and transience. Organised into nine different thematic sections, the exhibition progresses through several intermediate stages in time towards the era of digital transformation.

Drawing on over 120 exhibits created by international artists, the exhibition attempts to analyse and lay bare the current state of affairs by recalling modes of portrayal that prevailed in earlier times. In taking the initiative, girls show the world who they really are!

https://www.lentos.at/en/exhibitions/maedchen-sein 

Not Nice Girls! - The female view in photographies from the SpallArt Collection

Opening: February 13, 2026

Exhibition: February 14 -  April 12, 2026

Galerie im Alten Rathaus
Alte Rathausstraße 22
83209 Prien am Chiemsee

The gallery in Prien's Old Town Hall is showing the exhibition “Not Nice Girls. The Female Gaze in Photographs from the SpallArt Collection.” The title of the exhibition refers to a quote by American photographer Berenice Abbott, who sought out her original motifs there despite the dangers posed by New York's Lower East Side in the 1930s. As the world of photography has long been dominated by men, the exhibition in Prien focuses on the work of international and national female photographers. Over 180 works by Inge Morath, Vivian Maier, Lisette Model, Cindy Sherman, Beate Passow, and many others offer an in-depth look at identity, reflection, change, and a precise observation of scientific processes, urban life, and interpersonal encounters. The thematic juxtaposition with works by male photographers, also from the collection, is exciting and open to personal discovery.

Curated by Ute Gladigau

Artists: Berenice Abbott, Ansel Adams, Irene Andessner, Ursula Arnold, Atelier Manassè, Ellen Auerbach, Nomi Baumgartl, Ruth Bernhard, Isabella Berr, Sabrina Biancuzzi, Lillian Birnbaum, Luise Böker, Margret Bourke-White, Hugo Brehme, Julia Margret Cameron, Katherine Cooper, Elisabeth Czihak, Pierre Descamps, Sinje Dillenkofer, Robert Doisneau, Peter Dressler, Harold Eugen Edgerton, Eliot Elisofon, Siegfried Enkelmann, Alfred Erhard, Sissi Farassat, Franz Fiedler, Karin Fisselthaler, Christoph Fuchs, Caroline Gavazzi, Lotte Gerson-Colein, Isabell Gherardi, Ralph Gibson, Nan Goldin, Dorothee Golz, Alessa Grande, Ismene Grebe, Maria Hahnenkamp, Ilse Haider, Bob Hauser, Milos Heyduk, Candida Höfer, Horst P. Horst, Dieter Huber, Carol Huebner-Venezia, Hertha Hurnaus, Morath Inge, Karen Irmer, Lotte Jacobi, Ursel Jäger, Anna Jermolaeva, Anne Kaiser, Leo Kandl, Sanna Kannisto, Sandra Kantanen, Eeva Karhu, Peter Keetmann, André Kertész, Hannes Kilian, Angelika Krinzinger, Germaine Krull, Elke Krystufek, Marie-Jo Lafontaine, Isabelle Le Minh, Marko Lipus, Edgar Lissel, Maria Theresia Litschauer, Max Lohr
Valerie Loudon, Michelle Magdalena Maddox, Vivian Maier, Anja Manfredi, Elfriede Mejchar, Lisette Model, Claudio Monteccuco, Inge Morath, Barbara Morgan, Michaela Moscouw, Stefan Moses, Andreas Mühe, Abigail O'Brian, Arnold Odermatt, Riitta Päliväläinen, Nelli Palomäki, Martin Parr, Beate Passow, Manfred Paul, Alfred Pfau, Agnes Prammer, Bettina Rheims, Marc Riboud, Sheila Rock, Gabriele Rothemann, Charlotte Rudolph, Liddy Scheffknecht, Karin Schneider-Henn, Werner Schnelle, Maria Schott, Wolfgang Schriever, Gundula Schulze Eldowy, Jill Seer, Cindy Sherman, Luzia Simons, SofijaSilvia, Margherita Spiluttini, Ralph Steiner, Thomas Struth, Josef Sudek, Rudolf Sulke, Miriam Tölke, VALIE EXPORT, Walter Vogel, Wilhelm von Gloeden, Martin Waldbauer, Sabine Weiss, Robert Werling, Michael Wessely, Edward Weston, Kim Weston, Francesca Woodman, Robert Zahornicky, Pernilla Zettermann, George S.  Zimbel and Bettina von Zwehl

Neue Werke in der Artothek

In der Ausstellung kann das Publikum abwechslungsreiche Werke von elf Oldenburger und international bekannten Künstlerinnen und Künstlern erleben: Malerei von Max Herrmann, Grafiken von Kerstin Brätsch, Jitka Hanzlová, Maximilian Kirmse, Ahlrich van Ohlen, Helga Schmidhuber, Kathrin Wylezol und Beat Zoderer, Fotografien von Frieda Gertrud Riess und Elke Ueber sowie eine Metallskulptur von Insa Winkler
Das diesjährige Titelmotiv zur Ausstellung „Neue Werke“ zeigt eine Grafik von Kathrin Wylezol, die seit 2024 die Siebdruckwerkstatt an der Mediadesign Hochschule Berlin leitet. „Der Siebdruck ´Brudi´ von Kathrin Wylezol beruht auf persönlichen Beobachtungen und Erinnerungen aus ihrer Jugendzeit in Brandenburg. Im Mittelpunkt der Grafik steht eine weibliche Karaokesängerin, die inmitten von Flowerpower und rankenden Arabesken freundschaftlich von einem Wolf umarmt wird. Der Betrachter kann in eine phantasievolle Bildwelt eintauchen und in Farben schwelgen. Nicht nur farblich spielt Kathrin Wylezol mit Kontrasten, auch inhaltlich schafft sie eine ambivalente Atmosphäre von Angst und Mut, von Sehnsucht und Erfüllung die an eine moderne Version des Märchens Rotkäppchen erinnert“, beschreibt Sabine Isensee das Bild.
Die regionale Kunstszene ist vielfältig mit Werken in der Ausstellung vertreten: von Ahlrich van Ohlen sind vier Farbholzschnitte mit Figuren in artifiziellen Landschaften zu sehen, aus dem Nachlass des bekannten Malers Max Herrmann (1908-1999) hat die Artothek sieben expressive Acrylbilder als Schenkung erhalten, von der Oldenburger Fotografin Elke Ueber sind zwei poetische Naturfotografien zu erleben und die Huder Bildhauerin Insa Winkler hat eine figürliche Metallskulptur mit ausdrucksstarker Gestik geschaffen.

Die Ausstellung „Neue Werke“ ist vom 12. Februar bis zum 23. April 2026 während der Öffnungszeiten der Artothek (Montag und Donnerstag, 15 bis 19 Uhr) zu sehen.

Bereits während der Ausstellung können die neuen Werke zur Ausleihe vorbestellt werden.

A PUSZTA ÉLETEN TÚL. AZ INTÉZMÉNYESÍTETT GONDOSKODÁS MELLŐZÖTTJEI

BEYOND BARE LIFE. NEGLECTED BY INSTITUTIONALISED CARE

Opening : 26.03.2026. 18:00

27.03.2026-30.04.2026 

1097 Budapest Drégely utca 19.

“It’s good as long as it hurts because we know we’re alive.” The title of Eszter Csorba’s painting might as well serve as the motto of the exhibition. The words of elderly patients waiting in the corridor of the Rákoskeresztúr polyclinic seem to continue echoing within the walls of the former medical facility chosen as the exhibition’s venue. When we experience physical pain, we place our trust in doctors, hoping for a cure. But what about pain that cannot be localised in the body; pain that remains “invisible”? Such kinds of pain, and the mental challenges connected to them, are treated as the neglected stepchildren of the care system to this day.

Formulated almost half a century ago, the 1978 Declaration of Alma-Ata on primary health care is still relevant in its assertion that health means a “state of complete physical, mental and social well-being.” Achieving this requires the contribution of not only the healthcare system, but also the social and economic sectors. In contrast, our prevailing notions of health still tend to be confined to maintaining physical capacity and sustaining performance, while mental and social dimensions are increasingly marginalised. Our physical and mental integrity as well as our overall well-being are founded on a sense of personal security – something that, much like the right to primary health care, is in fact by far not equally guaranteed to all.

For the most part, the works presented in the exhibition draw on examples of institutional healthcare from the Cold War era which, by their very nature –whether oppressive, progressive, or paradoxically combining the two – reflect the ambivalence of the era. Comparing the healthcare infrastructures of the former socialist bloc and colonised countries can also be illuminating with regard to the forms and scope in which certain innovative initiatives could appear in colonial and later postcolonial contexts. When we speak about health institutions, we tend to imagine concrete physical spaces: a hospital, a psychiatric institution, or a sanatorium. The exhibition’s routes are likewise organised along such spaces – for example, a mental asylum, a night sanatorium for workers, or a space of enforced invisibility such as “Tripperburg.” These spatial categories are not only linked to particular types of illness and specific measures but also illustrate the historical transformation of these.

The exhibition forms part of a long-term education, research, and exhibition project launched in the autumn of 2024. The term “bare life” in the title is borrowed from the Italian philosopher Giorgio Agamben. In the Agambenian sense, bare life refers to the mere fact of biological existence, far removed from complete physical, mental and social well-being. The exhibition’s title refers to those condemned to bare life – people left to fend for themselves by precisely those social and economic sectors that should be providing the best possible health for them.

Curated by LÁZÁR Eszter, NAGY Edina

Exhibiting Artists : Mohamed ABDELKARIM, Sammy BALOJI, Tina BARA, Rufina BAZLOVA, Mohamed BOUROUISSA, CSORBA Eszter, FARKAS Aliz, FÁTYOL Viola, Andreas FOGARASI, KOLTAY Dorottya Szonja, Halina SKIBNIEWSKA, SZEBENI András, SZIDU Evdoxia

https://exindex.hu/en/hirek/a-puszta-eleten-tul/ 

Tapisseries 4 couleurs. L'extraordinaire collection BIC® révélée

14.2.2026 - 17.5.2026

Domaine national du château d'Angers, Angers, France

The Miner’s Dream

Opening: September 19, 6.30 pm in presence of the artist

Exhibition: September 20,2025 - May 5, 2026

The Wallonia-Brussels Federation Museum of Contemporary Arts (MACS) Grand-Hornu, Mons, Belgium

Bulgarian artist Nedko Solakov began his career in the 1980s, after studying mural painting at the Academy of Fine Arts in Sofia, and then training at the Academy of Fine Arts in Antwerp (HISK) in 1986.
He emerged onto the art scene in a tense socio-political context, Bulgaria being at the time under the influence of the Soviet regime. Very early on, he adopted a critical stance towards this regime, an attitude which he has maintained throughout his career by regularly addressing contemporary political and social issues.

Writing and storytelling occupy a central place in his work. Through text, Solakov infuses his works and installations with irony and humour imbued with gentle sarcasm and self-mockery.
A multidisciplinary visual artist, he explores the polysemy of language and ideas, playing with a multiplicity of supports and materials. His visual language, at first appearance naïve, in fact, conceals a complex practice, at once committed, poetic and playful.

With A Cornered Solo Show, Nedko Solakov has, since 2021, been installing his creations in the discreet corners of museums – often neglected passageways such as halls, stairwells or changing rooms. He arranges drawings, paintings, collages and handwritten texts, playing with the walls and their angles to create a form of marginal exhibition, engendering a dialogue of complicity between his work, the place and the visitors. His interventions address current issues – wars, ecology, institutional absurdities, and museum crises – in a tone that mixes sarcasm and personal reflections. By investing these ‘corners’, he transforms the periphery into an introspective, critical space.

For this sixth part of the series, the exhibition The Miner’s Dream is inspired by the stories and hopes that have traversed the Grand-Hornu site.
A Cornered Solo Show #6 evokes the reverie of a miner, his contemplative dream at the top of a mountain, surrounded by his family. This daydream provides him with strength to work and feeds his desire for a peaceful, contemplative existence. This figure embodies both the endless cycle of hard labour and the vital dependence on it to ensure the survival of his family. Like Sisyphus, he exhausts himself tirelessly in a repetitive task, the exit from which seems to be constantly postponed, generating an allegory of work as a necessity, a burden and a driving force of hope.

https://www.mac-s.be/en/exhibitions/nedko-solakov 

„Untitled“

Artists:
Georges Adéagbo 
Yasmin Alt 
Ines Doleschal 
Madame d’Ora 
Dennis Fuchs 
Asana Fujikawa
Jitka Hanzlová
Ulrike Kolb 
Caroline Kryzecki
Mårten Lange
Jean-Baptiste Monnin
Takako Saito 
Alexandra Schlund 
Helga Schmidhuber
Nobuko Watabiki
Beat Zoderer
Miron Zownir

Rathaus-Galerie Reinickendorf
Eichborndamm 215
13437 Berlin

Innocent Bodies

25.1.2026 — 17.5.2026

The National Gallery of Iceland, Reykjavík

The National Gallery’s video installation series continues with an exhibition of two recent films by the internationally acclaimed Polish artist Agnieszka Polska (b. 1985). The exhibition Innocent Bodiesconsiders the vulnerability of contemporary existence at a time of radically shifting interrelationships between humans, technological systems, and the natural world. Polska is particularly attuned to the social science of affective economy: how unnatural forces and states of being reshape our bodily emotions, physiology, and consciousness.

Longing Gaze (2021-22) addresses the paradoxical conditions of human intimacy and the violation of privacy through surveillance technology. Made in the aftermath of the global pandemic of 2020-21, it considers the imposed state of isolation, restricted movement, and loss of physical contact that occurred during lockdown, as well as the concomitant rise in networked social interactions.

The Book of Flowers (2023) is a sci-fi work made from found footage of a 16mm time-lapse film about flowering plant morphology shot in the 1940s and 50s and manipulated with AI-powered animation. The result posits an alternate natural history of human-plant evolutionary symbiosis, offering a new reality generated by human imagination and machine learning.

Polska works at the intersection of ancient storytelling traditions and the currency of human experience, employing advanced image-making technologies, including filmmaking, video, photography, and animation. She frequently starts with found images, distorting and manipulating them, often with the use of AI technology. Ambient sound, music, and narration interlace with her poetic cinematic stories.

https://www.listasafn.is/en/art/exhibitions/innocent-bodies/ 

Whose Nature? – On Shared Trails

28 February – 24 May, 2026

Mikkeli Art Museum, Mikkeli 

The exhibition invites us to examine our relationship with nature from a new perspective. It seeks sustainable co-existence with the diversity of life and encourages us to reflect on our notions of nature and its values.

Photographic art depicting nature is now more important than ever before, as it plays a significant role in renewing the relationship between nature and humans. If nature is showcased in customary ways, it stays conventional. The artworks in the exhibition do not depict only nature – they offer insights, lingering moments and surprising viewpoints. Could art inspire us to work for the good of nature?

The exhibition is curated by photographers Harri Heinonen and Marko Hämäläinen and features many award-winning contemporary photographers. Their artworks invite us to consider on whose terms we view and experience nature – and how we can use art to createconnections within our diverse community of species.

The artists in the exhibition include Ilkka Halso, Harri Heinonen, Marko Hämäläinen, Sanna Kannisto, Ritva Kovalainen, Sanni Seppo, Juha Suonpää as well as Team Saxifraga: Julia Kemppinen, Kikka Niittynen, Pekka Niittynen, Heikki Willamo.

https://mikkeli.fi/en/services/culture-and-leisure/museums/mikkeli-art-museum/exhibitions-at-mikkeli-art-museum/ 

THE MATERIAL SHOW

Eröffnung: 25.2.2026, 19:00

Ausstellung: 26.02.26 – 31.05.2026

MQ Freiraum
MuseumsQuartier, Museumsplatz 1, 1070 Wien

Die Ausstellung vereint gegenwärtige lokale wie internationale künstlerische Positionen, die sich mit der Beschaffenheit, Geschichte und Bedeutung architektonischer Materialien auseinandersetzen. Im Zentrum stehen dabei sowohl inhaltliche als auch formale Annäherungen an Stoffe wie Beton, Stahl, Stein, Glas oder Holz – Materialien, die unsere gebaute Umwelt formen, strukturieren und prägen. Die präsentieren Werke beleuchten über das Materielle hinaus auch den kontinuierlichen Kreislauf von Bauen und Zerstören, von Nützlichkeit und Hinfälligkeit, welcher der Baukultur seit jeher eingeschrieben ist. Aufbauend auf den langjährigen und tiefgehenden Recherchen des Künstlers und Ko-Kurators der Ausstellung Andreas Fogarasi bilden die eingeladenen Künstler:innen eine Art temporäre Interessensgemeinschaft. Ob durch skulpturale Eingriffe, raumgreifende Installationen oder prozesshafte Ansätze: Die Ausstellung zeigt ein breites Spektrum an künstlerischen Praktiken, die das Verhältnis von Körper, Raum und Stofflichkeit verhandeln. Dabei geraten in der Schau im MQ Freiraum, selbst im barocken Teil des Areals gelegen, nicht nur die materiellen Grundlagen der Architektur in den Blick, sondern auch die sozialen, ökologischen und symbolischen Dimensionen, die ihnen eingeschrieben sind.

Kuratiert von Andreas Fogarasi und Astrid Peterle

An dem Projekt mitwirkende Künstler:innen sind Lara Almarcegui, Hannes Böck, Cäcilia Brown, Werner Feiersinger, Andreas Fogarasi, Daria Koltsova, Little Warsaw, Markéta Othová, Bianca Pedrina, Nick Relph, Iris Touliatou und Christoph Weber.

https://www.mqw.at/mqfreiraum 

memento mori

March 7, 2026 – June 6, 2026

Casa Comadre, Rio de Janeiro

Artists: Anna Bella Geiger, Anna Costa e Silva, Anna Livia Taborda Monahan, Anna Maria Maiolino, Arorá, Carlito Carvalhosa, Laura Vinci, Lenora de Barros, Lucas Simões, Maria Klabin, Mariana Maurício, Marlan Cotrim, Maya Dikstein, Nathan Braga, Rodrigo Braga, Thix e Zé Carlos Garcia

https://www.comadre.art/portfolio-collections/projetos/corpo-gesto-1-1 

A velvet ant, a flower and a bird

February 19 – June 6, 2026

Potter Museum of Art, Melbourne

A velvet ant, a flower and a bird evokes a garden of knowledge anchored by three familiar figures from nature — a velvet ant, a flower and a bird. These figures represent a parliament of beings, each carrying symbolic and metaphorical weight that encourage us to reimagine what intelligence means.

Each museum floor is presided over by one of these natural entities, creating a kind of garden where there is no pre-established order, but rather an ecosystem in which the analogue and the digital interrelate to give rise to a fantastic mental realm.

Drawing from the University of Melbourne’s Classics, Biology, and Art collections, alongside new commissions and performances; historic and contemporary art co-mingle to envision intelligence as living, continually evolving, interconnected and interdependent.

Guest curated by Professor Dr Chus Martínez, Head of the Institute of Art Gender Nature at the FHNW Academy of Arts and Design, Basel, Switzerland.

Participating artists include: Adrian Mauriks, Agnieszka Polska, Alan Craiger-Smith, Alexa Karolinski & Ingo Niermann, Alexandra Copeland, Ann Lislegaard, Anouk Tschanz, Anthony Romagnano, Archie Barry, Barbara A Swarbrick, Benjamin Armstrong, Brent Harris, Carol Murphy, Daphne Mohajer va Pesaran, David Noonan, Derek Tumala, Din Matamoro, Eduardo Navarro, Gracia Haby & Louise Jennison, Harold Munkara, Heather B Swann, Helen Ganalmirriwuy Garrawurra, Helen Maudsley, Ian Wayne Abdullah, Inge King AM, Ingela Ihrman, Jane Jin Kaisen, Joan Jonas, John Pule, Josie Papialuk, Judith Pungkarta Inkamala, Julia Mensch, Kate Daw, Lauren Burrow, Liss Fenwick, Lorraine Jenyns, Malcolm Howie, Margaret Rarru Garrawurra, Marian Tubbs, Mel O’Callaghan, Mia Boe, Miles Howard-Wilks, Nabilah Nordin, Naomi Hobson, Neha Choksi, Noemi Pfister, Noriko Nakamura, Percy Grainger, Pippin Louise Drysdale, Rivane Neuenschwander & Cao Guimarães, Rosslynd Piggot, Rrikin Burarrwaŋa, Salvador Dalí, Taloi Havini, Tamara Henderson, Teelah George, Tessa Laird, and Tony Warburton.

https://potter-museum.unimelb.edu.au/whats-on/exhibitions/a-velvet-ant 

Ewa Partum: Contemplating Art, Contemplating Love

07.03.2026 - 14.06.2026 

MOCAK - Museum of Contemporary Art in Krakow

Ewa Partum (b. 1945) celebrates her 80th birthday and 60th anniversary of her artistic career. In the reality of socialist Poland and a conservative, Catholic society, she deliberately emphasised that her art was the voice of women. She confronted the male-centred neo-avant-garde by creating incarnated conceptualism and developing visual poetry as a tool for a critique of the roles and positions of women in the art world. Her activities went beyond institutions to encompass public space. She made the lipstick imprint of her lips her trademark, and her naked body – a medium for confronting authority. She ran the Adres gallery in Łódź, an important venue for mail art and anti-institutional discourse, and engaged in dialogue with Fluxus. The title of the exhibition, taken from the artist’s works, highlights the inseparable connection between art and physicality, sensuality, and love.

The exhibition aims to contextualise Partum’s work – both in relation to her contemporaries (Joseph Beuys, George Maciunas, Katalin Ladik, VALIE EXPORT) and to artists today who are developing the strategies of feminist rebellion she initiated (Iwona Demko, Monika Drożyńska, Joanna Pawlik). The main themes include the body, touch, imprint, voice as a physical and political medium, criticism of patriarchy, écriture féminine, social engagement and opacity of communication.

Also works by: John Baldessari, Leonora de Barros, Josef Bauer, Mehtap Baydu, Renate Bertlmann, John Cage, Anna Daučíková, Vlasta Delimar, Iwona Demko, Monika Drożyńska, Alexis Hunter, Sanja Iveković, Alfredo Jarr, Joseph Kosuth, Katalin Ladik, Cecylia Malik, Piero Manzoni, Dóra Maurer, Clemen Parrocchetti, Joanna Pawlik, Maria Pinińska-Bereś, Bogdanka Poznanović, Jadwiga Sawicka, Peny Slinger, Gabriele Stötzer, Endre Tot, Ulay, VALIE EXPORT and others.

Curators: Adam Budak, Marta Smolińska
Co-ordinators: Marta Műller, Aleksandra Żelichowska

https://en.mocak.pl/ewa-partum-contemplating-art-contemplating-love 

MIX & MATCH REDISCOVERING THE COLLECTION

through August 8, 2026

Pinakothek der Moderne, Munich

Marking the 20th anniversary of the Pinakothek der Moderne, the curators of the Sammlung Moderne Kunst have joined heads in rehanging the collection, in a new display titled MIX & MATCH. Characterised by a spirit of curiosity and experimentation, the new hang invites visitors to rediscover the collection in themed galleries and unconventional juxtapositions that transcend epochs, styles, and media.

Key works of painting, sculpture, photography, video and installation art, and printmaking serve as the springboard into topics of vital relevance to 21st-century life, such as community, migration, work, the environment, and conflict and violence. The new hang also illuminates genres and subjects steeped in an art-historical tradition – like the nude, the self-portrait, or the forest, as well as tropes like the grotesque, the spiritual, or the irrational.

The new collection presentation features some 350 works and series spanning 120 years of art history, on view in 25 galleries. True to the idea of mixing and matching, the works were selected as snapshots of specific moments in recent history with the potential to shed light on current urgent debates, offering visionary and unexpected perspectives on the past and the imminent future.

Artists: Herbert Achternbusch, Bas Jan Ader, Etel Adnan, Siegfried Anzinger, Ida Applebroog, Joannis Avramidis, Monika Baer, Lewis Baltz, Georg Baselitz, Bernd & Hilla Becher, Max Beckmann, Laurenz Berges, Benjamin Bergmann, Joseph Beuys, Aenne Biermann, Karl Blossfeldt, Alighiero Boetti, André Butzer, Heinrich Campendonck, Lovis Corinth, David Claerbout, Robert Delaunay, Rineke Dijkstra, Peter Doig, César Domela, Carroll Dunham, Tracey Emin, Dan Flavin, Max Ernst, Omer Fast, Lee Friedlander, Otto Freundlich, Franz Gertsch, Rupprecht Geiger, Carl Grossberg, Katharina Grosse, Andreas Gursky, Hans Hartung, Haubitz + Zoche, Florence Henri, Jenny Holzer, Axel Hütte, Alexej Jawlensky, Asger Jorn, Wassily Kandinsky, On Kawara, Mike Kelley, Ernst Ludwig Kirchner, Paul Klee, Jochen Klein, Oskar Kokoschka, Helmut Kolle, Käthe Kollwitz, Germaine Krull, Marie-Jo Lafontaine, Bo Christian Larsson, Maria Lassnig, Wilhelm Lehmbruck, Eva Leitolf, Zoe Leonard, Carl Lohse, August Macke, René Magritte, Mark Manders, Franz Marc, Henri Matisse, Jonathan Meese, Stephan Melzl, Olaf Metzel, Giorgio Morandi, Otto Mueller, Nicholas Nixon, Henrik Olesen, Martin Parr, Beate Passow, A. R. Penck, Paul Pfeiffer, Pablo Picasso, Adrian Piper, Sigmar Polke, Carl Theodor Protzen, Neo Rauch, Franz Radziwill, Albert Renger-Patzsch, Germaine Richier, Gerhard Richter, August Sander, Christian Schad, Josef Scharl, Oskar Schlemmer, Michael Schmidt, Bernard Schulze, George Segal, Friedrich Seidenstücker, Tschabalala Self, Gino Severini, Renée Sintenis, Thomas Steffl, Norbert Tadeusz, Rosemarie Trockel, Luc Tuymans, Andy Warhol, Jeff Wall, Fritz Winter, Amelie von Wulffen.

https://www.pinakothek-der-moderne.de/en/exhibitions/mix-and-match/ 

Vogelperspektiven - Die Vögel und wir

March 22 - August 9, 2026

Museum Sinclair-Haus, Bad Homburg

Freuen Sie sich auch immer, wenn Sie Vögel singen hören? Ob in der Stadt oder auf dem Land: Vögel sind unsere Nachbarn. Doch während wir an die Erde gebunden sind und nur zum Vergnügen singen, bevölkern sie die Lüfte und markieren mit ihren Stimmen und Gesängen Reviere. Wir sind zwar häufig von Vögeln umgeben, doch wie gut kennen wir sie? Was nehmen wir wahr, was übersehen wir? Was bedeuten sie uns, und wie leben wir mit oder neben ihnen? Welche Folgen hat unser Tun und Lassen für sie? Wie auch immer wir Menschen handeln, wir sind in Kontakt – manchmal unbemerkt, manchmal lange nachwirkend. Die Skulpturen, Filme, Fotografien und Gemälde dieser Ausstellung folgen Fluglinien, Gesängen und Schwarmbewegungen; sie erzählen von Faszination, von unzähligen Beobachtungsstunden und dem Wunsch, zu verstehen – aber auch von Trauer und Kritik.

Gerade weil wir so eng mit ihnen zusammenleben, spiegeln Vögel die zwiespältigen Beziehungen zwischen Menschen und anderen Tieren besonders klar. Haushühner sind biologisch die erfolgreichsten Vögel weltweit, aber die meisten von ihnen werden nicht artgerecht gehalten. Stadttauben spalten die Gemüter. Seit Jahrzehnten geht die Anzahl der Wildvögel zurück. Und während vogelfreundliche Gärten, Wasser- und Futterstellen von Zuneigung, Verantwortung und Fürsorge erzählen, zeugen ausgeräumte Landschaften und steinige Städte von Zielkonflikten, die es zu lösen gilt. Schutzmaßnahmen nutzen nicht nur Vögeln, sondern am Ende auch uns Menschen. Nicht zuletzt zeigen wissenschaftliche Studien, dass die Anwesenheit von Vögeln gesund und glücklich macht. 

Mit dieser Ausstellung laden wir Sie dazu ein, Vögeln auf Augenhöhe zu begegnen – im übertragenen und zuweilen auch im wörtlichen Sinn (etwa in Form der über zwei Meter großen Goldammer-Skulptur von Matthias Garff). Die Kunstwerke zeigen die Faszinationskraft der Vögel, sie spüren Vertrautheit nach und führen über Bekanntes hinaus. Einige Ausstellungsstücke schärfen den Blick für die „Vogelperspektiven“: Wie Vögel Räume bewohnen, wie sie kooperieren, kommunizieren, was sie träumen. Was erfahren wir, wenn wir den Vögeln zuhören? Wie verändert sich unser Blick auf die Welt, wenn wir aus der Vogelperspektive schauen?

https://kunst-und-natur.de/museum-sinclair-haus/ausstellungen/vogelperspektiven 

ANIMALIA. ON ANIMALS AND HUMANS

Opening: March 26, 2026
Exhibition: March 27 - August 30, 2026

Heidi Horten Collection, Vienna

With the exhibition Animalia. On Animals and Humans, the Heidi Horten Collection explores the complex relationship between humans and animals. The term Animalia, borrowed from biology, serves as the guiding principle for a critical examination of how humans treat animals, reflected in over 100 works of art from the 20th and 21st centuries.
Derived from anima, the Latin word for breath or soul, the term Animalia, coined by naturalist Carl von Linné (1707–1778), encompasses both humans and animals. In contrast to this model of equality, humans' treatment of animals is characterized by a clear hierarchy.
As the supposed “pinnacle of evolution,” as beings of reason that rise above the animal world, humans assign ambivalent roles to animals. Artistic representations that make these different attributions visible say a lot about humans themselves, allowing conclusions to be drawn about their self-image and methods of projection. Thus, humans are already present in every image of animals—even when they are not part of the representation.

The exhibition explores the question of which social and historical structures are inscribed in representations of animals. They range from the idea of “man's best friend” to the humanization and objectification of animals to their exploitation. At the same time, the exhibition allows us to view ANIMALIA as a thought experiment—beyond a shared biological category—as a principle of a shared model of life that considers animals as fellow creatures and co-actors.

Artists: Karel Appel, Cory Arcangel, Miquel Barceló, Georg Baselitz, Dominika Bednarsky, Cosima von Bonin, Rembrandt Bugatti, Marc Chagall, George Condo, Mark Dion, Jean Dufy, Gerhart Frankl, Helene Funke, Matthias Garff, August Gaul, Gelatin, Lena Henke, Damien Hirst, Edgar Honetschläger, Hörner/Antlfinger, Anna Jermolaewa, Birgit Jürgenssen, Sanna Kannisto, Gülsün Karamustafa, Erika Giovanna Klien, Stanislaw Kubicki, François-Xavier Lalanne, Maria Lassnig, Maria Legat, Fernand Léger, Roy Lichtenstein, Angelika Loderer, Constantin Luser, Franz Marc, Sarah Morris, Ulrike Müller, Meret Oppenheim, Michèle Pagel, Yan Pei-Ming, Mimmo Paladino, Pablo Picasso, Lili Reynaud-Dewar, Germaine Richier, Corinne L. Rusch, Kristof Santy, Anne Speier, Margherita Spiluttini, Curt Stenvert, Melanie Thoeni, Philipp Timischl, Wilhelm Trübner, Not Vital, Andy Warhol.

https://hortencollection.com/en/exhibitions/preview-coming 

In the Lights of Shadows

March 7 - October 2026

Exhibition in the Depot of the SpallArt collection, Salzburg
Jakob-Auer-Straße 8
5020 Salzburg
 

Following the highly successful exhibition at the Forum für Fotografie in Cologne, we are now presenting the exhibition In the Lights of Shadows at the Depot in Salzburg. At the heart of photography, the exhibition focuses on the interplay of light and shadow – the fundamental forces of every photographic narrative. Masterpieces from two centuries of photographic history are on display: from iconic artists such as Edward Weston, Ansel Adams, Berenice Abbott, and Mary Ellen Mark to contemporary positions such as Michelle Magdalena Maddox, Liddy Scheffknecht, and Ugne Pouwell. The selection shows how light in photography has become not only a means, but also a theme and a vehicle of expression. Light and shadow as a language that shapes emotion, structure, and time at the same time.

With works by:
Berenice Abbott, Ansel Adams, Walter Bartsch, Werner Bischof, Josef Breitenbach, Marilyn Bridges, Harry Callahan, Paul Caponigro, W.P.A. Chambers, Lucien Clergue, Ralf Cohen, Josephus Daniel, Harold Eugen Edgerton, Alfred Eisenstaedt, Walker Evans, Adolf Fassbender, Ralph Gibson, Horst Hahn, Clemens Kalischer, Hannes Kilian, Nikolaus Korab, Maurice M. Loewy & Pierre Henri Puiseux, Michelle Magdalena Maddox, Mary Ellen Mark, Martin H. Miller, Barbara Morgan, Jeff Nixon, Roland Pleterski, Ugne Pouwell, Vilém Reichmann, Albert Rudomine, Roger Schall, Liddy Scheffknecht, Fritz Simak, Aaron Siskind, Studio Souissi, Edward Steichen, Otto Steinert, Louis Stettner, Josef Sudek, Todd Webb, Sabine Weiss, James Welling, Robert Werling, Brett Weston, Edward Weston, Kim Weston, Minor White and Robert Zahornicky

https://www.sammlung-spallart.at/en/exhibitions/in-the-lights-of-shadows-2/ 

30% Dandelion

Opening: March 20, 2026
Exhibition: March 21 - November 8, 2026

Universalmuseum Joanneum Kunsthaus Graz, Graz

The dandelion—as a flower, botanical plant, cultural symbol, and aesthetic phenomenon—possesses strength and quiet courage. Unobtrusive yet persistent, it adapts radically, returns, and resists. Under the title 30% Dandelion, the exhibition at the Kunsthaus brings together more than 20 contemporary artistic positions dedicated to the flower and its direct connection to humans—humans share 30% of their genetic material with the flower. In the works, we encounter the melancholy of a crumbling present.

At the same time, they take us on a journey into the familiar, beautiful, and intoxicating aesthetics of the flower and its exuberant expression of vitality. The focus is on recurring arrival, symbiotic cooperation, and farewell: poetic, political, and ecological.

The dandelion serves both as a model of adaptive strength and as a language spoken by all. In the spirit of floriography – the historical language of flowers – it becomes a transcultural gesture of recognition and communication: overlooked, but persistent and beautiful. As a flower of the margins, meadows and gardens, it offers a symbolic vocabulary that resists normative constraints, speaks in everyday languages, possesses healing powers and, in the radiant colour of the sun, entices the insects that fertilise it. The exhibition is based on the concept of ‘entanglements’ as well as on philosophical and ecological framework concepts of ‘aesthetic offering’ (Elaine Scarry) and ‘critical hybridity’ – and is also linked to the exhibition on the upper floor, Hybrid Pleasures. Helen Chadwick supported by Liesl Raff – in which the productive and provocative forms of a polyphonic hybridity become the subject. The ‘entanglements’ are, as formulated by thinkers such as Donna Haraway, Karen Barad and Timothy Morton, just as politically and colonially charged as they are cross-genre, cross-gender and intrinsically seen. When Haraway writes, ‘We will be together or not at all,’ it is important to trace the connections and use the insights for a just future.

Amidst ecological crises, colonial aftermaths and digital acceleration, ‘30% Dandelion’ calls for new forms of attention – attuned to what grows slowly, demands time and returns quietly. The flower, but also the dandelion with its spreading seeds, its natural healing power and its communal flourishing, embodies this principle of an ethical way of life based on coexistence

With works by Anita Fuchs, Spencer Finch, Barbara Frischmuth, Joiri Minaya, Nina Schuiki, Claudia Larcher, Jonas Mekas, Marwa Arsanios, Anna Ridler, Agnieszka Polska and others, the exhibition unfolds as a polyphonic exploration of the flower, its attribution and power of attraction.

https://www.museum-joanneum.at/en/kunsthaus-graz/our-programme/exhibitions/event/30-dandelion-1 

Selection – Highlights from the collection

Neue Galerie Graz, Universalmuseum Joanneum, Graz

Through December 31, 2028

Comprising around 70,000 works, the Neue Galerie Graz collection has been shown in different ways in recent years, most recently on a large scale up to summer 2024 under the title Show! Highlights from the Collection. Some 9,000 interested viewers visited the exhibition over the four months it ran. Due to strong demand, a permanent presentation of the collection is now on show, which can be seen in concentrated form under the title Selection. For the first time, the public was actively involved in the new selection; a survey led to an astonishing result, which was adopted into the current presentation.

The Neue Galerie Graz collection has always been expanded not only by acquisitions, also through donations and foundations. Generous private gifts – from Norli und Hellmut Cerny, Helmut Suschnigg, Regine Ploner and numerous artists – together with many permanent loans have enabled the quality of the collection to be consolidated in recent years. The permanent presentation, which is slightly adapted every year, now allows special thematic areas to be shown, as well as new purchases. As this permanent exhibition is also concerned with ‘highlights’ from the holdings, the following question is justified: ‘What are highlights, and who determines their status?’

The public has voted.

A survey among the public as part of the exhibition Show! led to a surprising result, which has now flowed into the new selection, too. In this way, the Neue Galerie Graz has actively participated in a collection show for the first time. Here can be seen the republican, civic awareness of those who regard the museum as ‘theirs’ and the assets therein a collective treasure. Both the strength of the society and that of its institutions are revealed in this thinking – in our case, the museum as a venue of communal endeavour.

https://www.museum-joanneum.at/en/neue-galerie-graz/our-programme/exhibitions/event/selection-1 

Ways of Seeing 

Museum Sztuki, Lodz

Opening: October 17, 6pm 

Exhibition October 18, 2025 - December 21, 2030

Ways of Seeing is the new permanent exhibition of the Muzeum Sztuki in Łódź – a multifaceted narrative about 20th- and 21st-century art and about the museum itself as an institution of artistic experimentation, avant-garde thought, and solidarity. The exhibition opens on 17 October 2025 at ms².

The exhibition focuses on the phenomenon of seeing – both as a biological function and as a cultural and political act. Divided into several thematic chapters, it presents art as a tool of inquiry, posing questions about how and why we look. Among the issues explored are: the relationship between vision and memory, the social contexts of looking, perception as a form of knowledge and a tool of resistance, as well as questions of identity, corporeality, and the sensorial experience of reality.

The title of the exhibition refers to John Berger’s celebrated series Ways of Seeing and Władysław Strzemiński’s Theory of Seeing. Both serve as points of reference grounded in the conviction that looking is never neutral – it is always culturally, historically, and emotionally conditioned.

The exhibition features works by, among others, Katarzyna Kobro, Maria Jarema, Franciszka and Stefan Themerson, Zofia Rydet, Alina Szapocznikow, R.H. Quaytman, Katja Novitskova, Marysia Lewandowska, Frank Bowling, and Zbigniew Libera. The works are not arranged chronologically. Instead, the exhibition guides visitors through chapters titled after selected works on view, such as Description of a Photograph, Multiple Portrait, Wheel of Acceleration, Superobjects, or A Gaze is a Bridge.

An important context for the exhibition is Gifts of Friendship – nearly one hundred works donated to the Muzeum Sztuki by artists from around the world. This act of solidarity recalls the avant-garde roots of the institution, which in 1931 initiated the International Collection of Modern Art through artists’ donations. The 2025 contributions include works by Liam Gillick, Sharon Lockhart, Nikita Kadan, Ghislaine Leung, Kateryna Lysovenko, Goshka Macuga, Wilhelm Sasnal, Jasmina Cibic, IRWIN, and Zuzanna Janin. A selection of these will be on view from October as part of the new permanent exhibition.

The exhibition is accompanied by two publications: an illustrated catalogue with essays by Mieke Bal and Łukasz Zaremba, and an anthology of texts by artists reflecting on vision, perception, and the co-creation of meaning. Like the exhibition itself, these books treat art as a mode of thinking and as a dialogue with reality.

Artists: Jankel Adler, Josef Albers, Lita Albuquerque, Joël Andrianomearisoa, Jean Arp, Alexandra Bachzetsis, Wojciech Bąkowski, Ernst Barlach, Jerzy Bereś, Joseph Beuys, Alicja Bielawska, Cezary Bodzianowski, Marian Bogusz, Włodzimierz Borowski, Pauline Boty, Frank Bowling, Urszula Broll, Marcel Broodthaers, Wojciech Bruszewski, Agnieszka Brzeżańska, Jan Bułhak, James Lee Byars, Luis Camnitzer, Guglielmo Achille Cavellini, Roman Cieślewicz, Le Corbusier, Isabelle Cornaro, Shanti Dave, Cian Dayrit, Terry Dennett, Zbigniew Dłubak, Andrzej Dłużniewski, Benedykt Jerzy Dorys, Stanisław Dróżdż, Sergei Eisenstein, Max Ernst, Wojciech Fangor, Harun Farocki, Stanisław Fijałkowski, Stano Filko, Leonora Fini, Ian Hamilton Finlay, Morgan Fisher, Simone Forti, Marek Gardulski, Józef Gielniak, Teresa Gierzyńska, Liam Gillick, Gorgona, Jean Gorin, Dan Graham, OHO, Marian Grużewski, Milan Grygar, Aneta Grzeszykowska, Barbara Hammer, Karol Hiller, Susan Hiller, Hannah Höch, Nancy Holt, Francisko Infante-Arana, Agata Ingarden, IRWIN, Sanja Iveković, Alain Jacquet, Zuzanna Janin, Jerzy Janisch, Libuše Jarcovjáková, Maria Jarema, Ray Johnson, Birgit Jürgenssen, Zdzisław Jurkiewicz, Wolf Kahlen, Stephen Kaltenbach, Tadeusz Kantor, El Kazovsky, Mary Kelly, Teresa Kelm, Michael Kidner, Paul Klee, Leszek Knaflewski, Krzysztof Knittel, Milan Knížák, Katarzyna Kobro, Stanisław Kolibal, Käthe Kollwitz, Komar & Melamid, Svetlana Kopystiansky, Leon Kossoff, Daniel Kotowski, Tomasz Kowalski, Jarosław Kozłowski, Edward Krasiński, Janina Kraupe-Świderska, Zygmunt Krauze, Aleksander Krzywobłocki, Stanisław Kubicki, Zofia Kulik, Piotr Kurka, Paweł Kwiek, Przemysław Kwiek, Natalia LL, Andrzej Lachowicz, Katalin Ladik, Edward Łazikowski, Fernand Léger, Nadia Léger, Diana Lelonek, Les Levine, Marysia Lewandowska, Jerzy Lewczyński, Zbigniew Libera, Andrzej Łobodziński, Sharon Lockhart, Peter Lowe, Łódź Kaliska, Maria Ewa Łunkiewicz-Rogoyska, Kateryna Lysovenko, Goshka Macuga, Antje Majewski, Jumana Manna, Louis Marcoussis, André Masson, Roberto Matta, Jadwiga Maziarska, Ana Mendieta, Gizela Mickiewicz, Hana Miletić, Małgorzata Mirga-Tas, Andrzej Mitan, Piet Mondrian, Henryk Morel, Teresa Murak, Lada Nakonechna, Maria Nicz-Borowiak, Katja Novitskova, Fortunata Obrąpalska, Paulina Ołowska, Roman Opałka, ORLAN, Hanna Orzechowska, Ahmet Öğüt, Pakui Hardware, Andrzej Partum, Ewa Partum, Andrzej Paruzel, Maria Pinińska-Bereś, Kazimierz Podsadecki, Agnieszka Polska, Cezary Poniatowski, Enrico Prampolini, RH Quaytman, Karol Radziszewski, Joanna Rajkowska, Margaret Raspé, Mykola Ridnyi, Bridget Riley, Józef Robakowski, Aura Rosenberg, Erna Rosenstein, Jerzy Rosołowicz, Zofia Rydet, Andrzej Adam Sadowski, Zorka Ságlová, Fred Sandback, Wilhelm Sasnal, Jadwiga Sawicka, Bogusław Schaeffer, Kurt Seligmann, Michel Seuphor, Ahlam Shibli, Jura Shust, Rudolf Sikora, Janek Simon, Łukasz Skąpski, Christine Smith, Alexis Smith, John Smith, Marek Sobczyk, Judyta Sobel, Jo Spence, Antoni Starczewski, Henryk Stażewski, Michael Stevenson, Mladen Stilinović, Katja Strunz, Władysław Strzemiński, Alina Szapocznikow, Mieczysław Szczuka, Tamás St. Auby, Wacław Szpakowski, Franciszka Themerson, Stefan Themerson, Suzanne Treister, Teresa Tyszkiewicz, Paul Vangelisti, Bernar Venet, Alexej von Jawlensky, Andrzej Wajda, Zbigniew Warpechowski, Marian Warzecha, Ryszard Waśko, Peter Weibel, Mieczysław Wejman, Hendrik Nicolaas Werkman, Aubrey Williams, Stanisław Ignacy Witkiewicz, Marek Włodarski, Ruth Wolf-Rehfeldt, Andrzej Wróblewski, Haegue Yang, Krzysztof Zarębski, Katarina Zdjelar, Liliana Zeic, Teresa Żarnower

Curatorial team: Jakub Gawkowski, Daniel Muzyczuk, Paweł Polit, Katarzyna Różniak-Szabelska, Franciszek Smoręda

https://msl.org.pl/en/ways-seeing 

Read the free dialogue developed around the practice of Camila Sposati and some guiding concepts of her work. 

The conversation between the artist and Andrea Ledra emerged from an invitation to reflect on the concept of resonance. 

Published in PLATFORM GREEN

Take a look at Svea Grasbergers critique on Thomas Lochers latest exhibition at our gallery some notes... (barely written out). 

"Subjekt • Prädikat • Objekt. Diese grundlegenden Elemente genügen, um die einfachsten Sätze der deutschen Sprache zu formen. Doch sie bilden nicht nur die Basis alltäglicher Kommunikation, sondern auch das Fundament des Rechtssystems. Wie dieses in die Prozesse innerhalb einer Gesellschaft eingreift und welche Rolle die Sprache bei dessen Entstehung und Wirkung spielt, ist das zentrale Thema bei der in der Galerie Lombardi—Kargl präsentierten Ausstellung some notes… (barely written out) von Thomas Locher."
Continue reading here.