Exhibitions

Thierry Mugler, the French fashion designer who married camp, couture, steampunk, science fiction, and S&M, all with his trademark sensuality, died on Sunday, January 23, age 73.
His death was announced by House of Mugler, his eponymous brand.
After declining invitations for several retrospectives, Mugler agreed to a 2019 show, “Thierry Mugler, Couturissime,” at the Montreal Museum of Fine Arts. The traveling exhibition is now on view at the Musée des Arts Décoratifs in Paris through April.
Anniversaire des 20 ans collection, Haute couture fall/winter 1995-1996 © Patrice Stable, courtesy of the Musée des Arts Décoratifs.
When it first opened in Montreal in 2019, it coincided with the designer’s return to public life.
At that year’s Grammy awards, rapper Cardi B donned the Mugler’s “Venus” gown (from his 1995/1996 collection), with her pale pink torso surrounded by petals, the rest of the gown encased in black.
At that same year’s Met Gala, Kim Kardashian, who often mined the Mugler archives, appeared on the red carpet in the first new Mugler-made wear in 20 years: a one-of-a-kind latex corset dress dripping in crystals that took eight months to complete.
The exhibition traces Mugler’s career and myriad roles within the art and fashion worlds. (Before he founded his brand in 1974, he created stage costumes for Macbeth, directed films and a music video, published books of photography, and was even a dancer.)
Les Insectes collection, haute couture spring/summer 1997. © Patrice Stable, courtesy of the Musée des Arts Décoratifs.
Organized, like an opera, into multiple acts, the show touches on the milestones of his career: from his heyday in the 1980s (when his trademark “Glamazon” design, with its exaggerated silhouette and torpedo-like bustier, defined pop culture); to his more fantastical collections of the 1990s, when he drew inspiration from insects, birds, nymphs, and, in one case, cyborgs.
In addition to Cardi B and Kim Kardashian, Mugler found a new audience with pop stars including Lady Gaga and Beyoncé, who hired him to design the looks for her 2009 I Am… world tour.
French fashion designer Thierry Mugler. (Photo: Britta Pedersen/DPA/AFP via Getty Images.)
“Fashion is still a great tool, because it’s a three-dimensional art,” he told Women’s Wear Daily in 2019. “It’s the most feral form of art, in the best sense of the word, meaning that it touches on the human, and that’s interesting.”
See images from the exhibition below.
‘Thierry Mugler : Couturissime’ exhibition at the Musee des Arts Decoratifs in Paris. (Photo by CHRISTOPHE ARCHAMBAULT/AFP via Getty Images)
‘Thierry Mugler : Couturissime’ exhibition at the Musee des Arts Decoratifs in Paris. (Photo by CHRISTOPHE ARCHAMBAULT/AFP via Getty Images)
‘Thierry Mugler : Couturissime’ exhibition at the Musee des Arts Decoratifs in Paris. (Photo by CHRISTOPHE ARCHAMBAULT/AFP via Getty Images)
‘Thierry Mugler : Couturissime’ exhibition at the Musee des Arts Decoratifs in Paris. (Photo by CHRISTOPHE ARCHAMBAULT/AFP via Getty Images)
‘Thierry Mugler : Couturissime’ exhibition at the Musee des Arts Decoratifs in Paris. (Photo by CHRISTOPHE ARCHAMBAULT/AFP via Getty Images)
‘Thierry Mugler : Couturissime’ exhibition at the Musee des Arts Decoratifs in Paris. (Photo by CHRISTOPHE ARCHAMBAULT/AFP via Getty Images)
‘Thierry Mugler : Couturissime’ exhibition at the Musee des Arts Decoratifs in Paris. (Photo by CHRISTOPHE ARCHAMBAULT/AFP via Getty Images)
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In a 2014 article for New York magazine, critic Jerry Saltz described Artforum‘s ads as “the porn of the art world.” The glossy promotions comprised around 70 percent of the magazine’s pages. But these weren’t your typical ethereal, aspirational ads for perfume or jewelry. These are ads for art, after all.
Artforum ads are often confrontational, cheeky, even raunchy. They are designed to start a conversation—and some have even earned their own places in art history.
The Brooklyn-based Gallery 98, which specializes in art-world ephemera like announcement cards and gallery posters, recently got ahold of a cache of old Artforum magazines, from which they culled some of the most interesting and emblematic ads over the decades. Now available online to peruse or purchase is a wide swathe from 1970 to 2010 that feature portraits of artists.
The resulting images are a delightful time capsule of different decades in the art market: there’s a then-considerably-less-successful Ed Ruscha in bed with two women, shot by Jerry McMillan in 1967; Judy Chicago’s debut both in Artforum and the broader art world under her new name, in 1970; and an ad for a show of then 25-year-old Dash Snow at Peres Projects two years before he died.
See more selections from Gallery 98 below.
Ed Ruscha, Wedding Announcement (Ed Ruscha Says Goodbye to College Joys), Artforum Advertisement, 1967. Courtesy online Gallery 98.
Absolut Vodka, Nam June Paik, Absolut Paik, Artforum Advertisement, 2002. Courtesy online Gallery 98.
Cindy Sherman, A Play of Selves, Artforum Advertisement, Metro Pictures, 2006. Courtesy online Gallery 98.
Matthew Barney, Cremaster 5, Artforum Advertisement, Barbara Gladstone Gallery, 1997. Courtesy online Gallery 98.
Dash Snow, Artforum Advertisement, Peres Projects Los Angeles, Artforum Advertisement, 2007. Courtesy online Gallery 98.
Judy Chicago, One Woman Show, Artforum Advertisement, Jack Glenn Gallery (California), 1970. Courtesy Gallery 98 online.
Kara Walker, Sikkema Jenkins & Co, Artforum Advertisement, 2006. Courtesy online Gallery 98.
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Even authors who create elaborate fictional landscapes need directions sometimes. That much is clear in “Mapping Fiction,” a new exhibition at the Huntington Library, Art Museum, and Botanical Gardens in California, which examines the ways authors and cartographers have mapped out fantastical worlds both like and unlike our own. 
The show coincides with the centennial of James Joyce’s opus, Ulysses, and sure enough, several relics related to the book—including a first edition copy, a typescript draft of one of its chapters, and various intaglio prints of Dublin as described by the author—are on display. 
But it wasn’t just the anniversary of Joyce’s novel that inspired the show, explained Karla Nielsen, the Huntington’s curator of literary collections who organized the effort.
“Joyce adamantly did not want Ulysses published with a schema, a map of Dublin, any type of explanation really,” Nielsen said in a statement. “His resistance provoked me to think about how maps function when inset into a print novel. How do they influence how readers imagine the narrative?”
Octavia E. Butler, Map of Acorn from notes for Parable of the Talents (ca. 1994). © Octavia E. Butler. Courtesy of The Huntington Library, Art Museum, and Botanical Gardens.
Some 70 items gathered from the museum’s collection offer viewers answers to the curator’s prompt. Among the highlights are elaborate maps that accompanied early editions of J. R. R. Tolkien’s The Lord of the Rings trilogy, Robert Louis Stevenson’s Treasure Island and Kidnapped, and George R. R. Martin’s A Game of Thrones. Meanwhile, Octavia E. Butler’s hand-drawn—and unpublished—diagrams of her own imagined landscapes provide a peek into her processes of writing Parable of the Talents and Parable of the Trickster (which was never published).
There are plenty of treats for rare book fans, such as early editions of Miguel de Cervantes’s El Ingenioso Hidalgo Don Quixote de la Mancha (The Ingenious Gentleman Don Quixote of La Mancha), Jonathan Swift’s Gulliver’s Travels, and Jules Verne’s Around the World in 80 Days. The latter is presented next to a vintage board game inspired by Nellie Bly, a journalist who herself circumnavigated the world following the publication of Verne’s novel. (It only took her 72 days).
See more images from “Mapping Fiction” below.
Map from front endpapers to The Odyssey of Homer (1935). © Oxford University Press, Inc. Courtesy of The Huntington Library, Art Museum, and Botanical Gardens.
D.W. Kellogg & Co., The Open Country of a Woman’s Heart (1833-42). © Nancy and Henry Rosin Collection. Courtesy of The Huntington Library, Art Museum, and Botanical Gardens.
Map from Ludvig Holbergs Nicolai Klimii iter svbterranevm (1741). © The Huntington Library, Art Museum, and Botanical Gardens.
David Lilburn, “The Quays” from In medias res (2006). © David Lilburn, 2021. Courtesy of The Huntington Library, Art Museum, and Botanical Gardens.
A map from Robert Louis Stevenson’s Treasure Island (1883). Courtesy of The Huntington Library, Art Museum, and Botanical Gardens.
McLoughlin Bros., “Round the World with Nellie Bly” (1890). Courtesy of Jay T. Last and The Huntington Library, Art Museum, and Botanical Gardens.
“Mapping Fiction” is on view through May 2 at the Huntington Library, Art Museum, and Botanical Gardens in San Marino, California.
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They may have been created decades ago, but Op Art pioneer Victor Vasarely’s dizzying geometric shapes and colorful graphics have never felt as relevant as they do now, in the age of digital art and NFTs. At least, that’s what an exhibition opening on Thursday at one of London’s biggest department stores strives to demonstrate.
Running until March 31 at Selfridges, the show features a total of 55 works ranging from canvases to ceramics and tapestries. It marks the first display of work by the late French-Hungarian artist in the United Kingdom in more than 50 years.
But the exhibition isn’t just about exposure—it’s also about raising money. Thirty-seven of the works—together with a series of freshly minted NFTs created by London-based NFT platform Substance—are available for sale. Proceeds will go toward the restoration of monumental works at the Fondation Vasarely Museum in Aix-en-Provence, France.
The show also features a creative partnership with fashion brand Paco Rabanne, which will be launched in a new 2022 collection inspired by Vasarely’s art at the Oxford Street store.
Victor Vasarely at Selfridges in London’s Oxford Street. Photo credit: Andrew Meredith and Selfridges.
The exhibition strives to bring the legacy of the Op Art movement pioneer to life while introducing him to a younger audience, said Pierre Vasarely, president of Fondation Vasarely.
“He wanted to promote art [through] architecture, urbanism, music, fashion, just like the way people think in recent years,” Vasarely told Artnet News. “He wanted to bring art to the city, to the streets, to everyone.”
Pierre Vasarely said his grandfather originally created the works on view, including the geometric designs gracing the storefront, by hand, before the introduction of computers. “It was revolutionary,” he said. “The NFT trend today is heading toward this direction.”
Victor Vasarely, Okta Cor (1973) Acrylic on canvas. Photo: Fabrice Lepeltier and Fondation Vasarely.
The physical works available for sale, including 15 unique works and 20 silkscreen prints, originally belonged to French collectors. A total of 12 Vasarely NFTs attached to Vasarely’s monumental works at the foundation will be released, with the first batch of six going live on February 16 and the remaining six available on March 12. Each NFT can be purchased at the London store in person or online on Subtance’s platform (and can later be accessed in the metaverse, naturally). Prices have yet to be announced.
Born in Pécs, Hungary, in 1906, Vasarely first studied medicine before venturing into painting. He moved to Paris in 1930 and began experimenting with Surrealism and Abstract Expressionism before developing his signature checkerboard paintings in the 1940s. He died at the age of 90 in 1997. He was the subject of a retrospective at Paris’s Centre Pompidou in 2019.
Victor Vasarely, Bleu n° IIIV (1970-2009). Photo: Fabrice Lepeltier and Fondation Vasarely
The artist built Fondation Vasarely between 1973 and 1976. It was declared a historic monument in 2013 and has annual attendance of around 100,000 visitors. The foundation is not the first to create NFTs based on a late artist’s work: Alphonse Mucha’s foundation debuted its own line of NFTs at the end of last year.
Pierre Vasarely said he has “no idea” how much money the sales will raise, but he hopes the project will allow more people to see Vasarely’s art, particularly in a moment when travel and gathering indoors is difficult.
“We make this exhibition at Selfridges with technology to show how contemporary his work still is today,” he said. “It is a good opportunity to imagine what Vasarely would’ve done if he had access to computers back then.”
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Prince Charles has commissioned seven leading artists to paint portraits of Holocaust survivors as a gesture of tribute to the aging generation. The portraits will be unveiled at the Buckingham Palace towards the end of this month.
The established artists participating in the project include the most expensive living female artist Jenny Saville, BP Portrait Award-winner Clara Drummond, original member of the Young British Artists Stuart Pearson Wright, and painters Paul Benney, Peter Kuhfeld, Massimiliano Pironti, and Ishbel Myerscough, according to the BBC.
“As the number of Holocaust survivors sadly but inevitably declines, my abiding hope is that this special collection will act as a further guiding light,” Prince Charles told the BBC, adding that the portraits will also serve as a reminder of “history’s darkest days.”
Most of the Holocaust survivors featured in the portraits are more than 90 years old. They were imprisoned in concentration camps during their childhood years and are living in Britain as adults.
The survivors depicted include Anita Lasker-Wallfisch, a 96-year-old musician from a German Jewish family who played in an orchestra of prisoners at the Auschwitz concentration camp, and was later held in the Bergen-Belsen camp in Germany. Her portrait was painted by Kuhfeld. Benney has painted Helen Aronson, 94, a survivor of the imprisonment of Jewish people in Nazi-occupied Poland’s Lodz ghetto.
The paintings, which will be featured at the Queen’s Gallery at Buckingham Palace from January 27 to February 13, and the Palace of Holyroodhouse in Edinburgh from March 17 to June 6, are hoped to serve as a reminder of not just one of the darkest chapters in history, but also to show “humanity’s interconnectedness as we strive to create a better world for our children, grandchildren and generations as yet unborn,” Prince Charles said, adding that this world should be “one where hope is victorious over despair and love triumphs over hate.”
The paintings will also be featured in a BBC Two documentary that will air on January 27 to mark Holocaust Memorial Day. It will include interviews with the survivors, who will share their experiences of events during the Nazi era.
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Europe’s art world will be bustling this year with a string of biennial exhibitions in the first half of 2022, beginning with curator Cecilia Alemani’s 59th Venice Biennale, which opens this April after being pushed back a year due to health restrictions. In June, documenta returns to Kassel, this time curated by Indonesian collective ruangrupa. But in and around these two landmark shows are many must-see exhibitions across Europe, from a major Hito Steyerl retrospective in the Netherlands to an exhibition in the U.K. dedicated to the textile works of Louise Bourgeois.

Georgia O’Keeffe Fondation Beyeler, BaselJanuary 23–May 22
Oriental Poppies (1927), Georgia O’Keeffe. Sammlung des Frederick R. Weisman Art Museum at the University of Minnesota, Minneapolis, Ankauf, 1937. 
© Georgia O’Keeffe Museum / 2021, ProLitteris, Zurich.
“One rarely takes the time to really see a flower. I have painted it big enough so that others would see what I would see,” said Georgia O’Keeffe in early 1926. Visitors at Fondation Beyeler will have five months to see first-hand what the artist, who died in 1986, saw through an in-depth survey of this key figure of modern American art. The exhibition, the first of its kind in Switzerland in almost two decades, will showcase important works by O’Keeffe spanning six decades.

Hito Steyerl: “I Will Survive”Stedelijk Museum, AmsterdamJanuary 29–June 12
Hito Steyerl, SocialSim (2020). Courtesy the artist, Andrew Kreps Gallery, New York and Esther Schipper, Berlin. © VG Bild-Kunst, Bonn, 2021. Film still © Hito Steyerl

“I Will Survive,” Steyerl’s largest-ever retrospective exhibition in the Netherlands, will span the German artist’s career, from her video works made in the early 1990s to her architectural installations that have become predominant in the last decade. Rein Wolfs, director Stedelijk Museum, called it a “sweeping overview” that will bring together 20 major loaned works from “each phase of Hito Steyerl’s artistic practice,” including a few early works that are in the Stedelijk collection.

Francis Bacon: Man and BeastRoyal Academy, LondonJanuary 29–April 17
Francis Bacon, Head VI (1949). Arts Council Collection, Southbank Centre, London. © The Estate of Francis Bacon. All rights reserved, DACS/Artimage 2021. Photo by Prudence Cuming Associates Ltd.
The RA will hold a large-scale exhibition on the 20th-century Irish painter, focused on his visceral works depicting animals. The son of a horse breeder, Francis Bacon’s lifelong fascination with fauna shaped his approach to the human figure. It is sometimes hard to discern whether his abstracted creations—riddled with anxiety and bursting with deep instinctual drive—portray a human or a beast. The exhibition includes 45 paintings spanning 50 years, from his early paintings of biomorphic creatures from the 1930s and ’40s to a trio of works about bullfighting from 1969—the latter are shown together for the first time next to his final work, a study of a bull, painted in 1991.

Louise Bourgeois: The Woven ChildHayward Gallery, LondonFebruary 9–May 15
Louise Bourgeois, The Good Mother (2003). Detail. © The Easton Foundation/VAGA at ARS, NY and DACS, London 2021. Photo by Christopher Burke.
This major retrospective of the renowned French artist will focus exclusively on Bourgeois’s late career turn to sculptures made using domestic textiles and fabrics. More than 90 works spanning the mid-1990s to her death in 2010 will be presented, revisiting many of the subjects that preoccupied the artist throughout her storied career. Topics including identity, sexuality, and family relationships are explored in “The Woven Child,” as well as her spider motifs and figurative sculptures of female bodies. All told, the survey hopes to address broader themes of reparation and memory, and explore what the artist called “the magic power of the needle… to repair the damage.”

Revolusi! Indonesia IndependentRijksmuseum, AmsterdamFebruary 11–June 5
Affiche met opschrift ‘Perlawanan seloeroeh rakjat pokok kemenang revolusi (1945-1949). Museum Bronbeek
Indonesia was one of the trailblazing nations in the fight for decolonisation, and an exhibition in Amsterdam, co-curated by Dutch and Indonesian curators, explores the former Dutch colony’s road to independence between 1945 and 1949. More than 200 objects are on view, threaded throughout experiences shared from 20 individuals who witnessed the revolution in some way, from varying locations and political standpoints.

Rachel Jones: Say CheeeeeseChisenhale GalleryMarch 12–June 12
Rachel Jones, Production Image (2021). Commissioned and produced by Chisenhale Gallery. Courtesy of the artist.
For the rising market star’s first institutional solo, “Say Cheeeeese,” Rachel Jones will present a newly commissioned work at Chisenhale Gallery. Jones is also producing a new body of oil pastels and oil stick paintings on canvas and paper, building on previous work that explore the motif of obscured teeth and mouth parts—these abstracted forms she creates symbolize entry points into the inner self.

Carrie Mae Weems: The Evidence of Things NotSeenWürttembergischer Kunstverein, StuttgartMarch 12–July 3
Carrie Mae Weems, Constructing History (Mourning), (2008). © Carrie Mae Weems. Courtesy of the artist, Jack Shainman Gallery, New York

The name of U.S. artist Carrie Mae Weems’s upcoming show in Stuttgart, set to be one of her most comprehensive institutional shows yet in Europe, borrows its title from a book by writer James Baldwin. The exhibition will feature 40 groups of works, including photographs, videos, and an immersive installation that is being conceived for the show. Weems is also creating a new photo series called “Monuments” that deals with the hot-button issue of colonialism and public memorials.

Donatello: the RenaissancePalazzo Strozzi and Museo del Bargello, FlorenceMarch 19–July 31
Donatello, Madonna col Bambino (Madonna Pazzi) c.1420-1425. Photo Antje Voigt
Billed as a once-in-a-lifetime show, this exhibition of work by 14th century Renaissance master Donatello seeks to illustrate his legacy and influence. Curated by Francesco Caglioti, the joint presentation between Palazzo Strozzi and the Musei del Bargello will place sculptor’s work in context with other Italian Renaissance masters such as Brunelleschi, Masaccio, Andrea Mantegna, Giovanni Bellini, Raphael, and Michelangelo.

Gaudí (1852-1926)Musee d’Orsay, ParisApril 12—July 17
Gaudì Mirror. Courtesy Musée d’Orsay
This exhibition, a rare celebration of the iconic Spanish architect and designer, takes a deep dive into what he and his workshop produced out of Catalonia at a time of great upheaval in Spain. Using the lens of space and colour and including drawings, models, and furniture, the show will guide the visitor through his amazing creations—from parks to churches and, of course, the Sagrada Familia church.

Barbara KrugerNeue Nationalgalerie, BerlinApril 29–August 28
Barbara Kruger, Untitled (Forever) (2017). Installation view, Sprüth Magers, Berlin, 2017–18. Amorepacific Museum of Art (APMA), Seoul. Photo by Timo Ohler and courtesy of Sprüth Magers.
The newly reopened Neue Nationalgalerie in Berlin, an exquisite museum of contemporary and modern art designed by Mies van der Rohe that will now be headed up by Klaus Biesenbach, will see Kruger install a new text installation for its main floor. Out of respect for the design of van der Rohe, Kruger will leave key parts of the building untouched (which is not her usual way). From outside the glassed-in museum, passersby might not even see the show, which only becomes fully revealed once inside the space.

“Meriem Bennani: Life on the CAPS”Nottingham Contemporary, NottinghamMay 7–September 4
Meriem Bennani, Party on the CAPS (still), 2018–19, eight-channel video installation, 30 min. Courtesy the artist and Clearing, New York & Brussels.
For the Moroccan artist’s largest solo exhibition in the U.K. to date, Bennani will show her eight-channel video installation Party on the CAPS (2018/19) alongside a newly-commissioned sequel. The films track the movements of inhabitants of a fictional island called CAPS in the middle of the Atlantic ocean across three generations—it is an internment camp for refugees and migrants hoping to head to Europe or North America, an isolated island that has become a bustling megalopolis. A new work will be premiered during the show, a sequel to this earlier piece, moving forward the artist’s fascination with displacement and biotechnology, and unpacking themes of privacy, protest, and public gathering.
Etel AdnanVan Gogh Museum, AmsterdamMay 20–September 4
“Le poids du monde” exhibition from 2016 by Etel Adnan at the Serpentine Gallery. Photo: Tristan Fewings/Getty Images for Serpentine Galleries.
The Van Gogh Museum will present the first retrospective of work by Etel Adnan since her death at age 96 in November 2021, as well as her first major exhibition ever in the Netherlands. The acclaimed, Beirut-born artist and writer was known for her vivid abstracted landscapes. The Dutch exhibition will consider the overlap in Adnan and van Gogh’s art practices—their mutual fascination with color and nature, but also poetic language—by showing paintings and literary works by both artists side-by-side.

A Century of the Artist’s Studio 1920–2020Whitechapel Gallery, LondonFebruary 17–May 29
Lisa Brice Untitled (2019). Courtesy © Lisa Brice Courtesy the artist; Stephen Friedman Gallery, London; Salon 94, New York; and Goodman Gallery, South Africa. Katrin Bellinger Collection
The artists’ studio is an endless source of fascination. A Century of the Artist’s Studio follows three years of research led by outgoing Whitechapel Gallery Director Iwona Blazwick. This ambitious show will chart the history of the studio and include 100 works by 80 artists across the globe, with art by Francis Bacon, Louise Bourgeois, Pablo Picasso, Lisa Brice, and Kerry James Marshall to be included.

Anish KapoorGallerie dell’AccademiaApril 20—October 9
Anish Kapoor Black Within Me (2021). Photo Dave Morgan © Anish Kapoor. All rights reserved SIAE, 2021
Curated by director of the Rijksmuseum Taco Dibbits, this retrospective of Kapoor promises to be one of 2022’s blockbusters. “It is a huge honour to be invited to engage with the collections at the Gallerie dell’Accademia in Venice; perhaps one of the finest collections of classical painting anywhere in the world,” said Kapoor. “All art must engage with what went before.” His unmistakable works will sit alongside the existing collection.

“The Milk of Dreams”The Venice BiennaleApril 23—November 27
Venice’s Basilica of San Maria de Salute and a gondolier at sunset. Photo by Michel Baret/Gamma-Rapho via Getty Images.
We have waited long enough! The postponed Venice Biennale of 2020 looks like it is finally happening. “Under the increasingly invasive pressure of technology, the boundaries between bodies and objects have been utterly transformed, bringing about profound mutations that remap subjectivities, hierarchies, and anatomies,” reads the statement from curator Cecelia Alemani. The central exhibition will be based around The Milk of Dreams, a book by surrealist artist Leonora Carrington.

Tony Cokes: ”Some Munich Moments 1937-1972″Haus der Kunst, MunichJune 10–October 23
Tony Cokes. Photo: Stan Narten
Tony Cokes will have his first solo exhibition at Munich’s historic Haus der Kunst this summer, in a collaboration with Kunstverein München nearby. Cokes plans to present newly commissioned works called ”Some Munich Moments 1937-1972″ that will be presented at both institutions and in the public spaces between them. Cokes’s video essays, which are often text-based, focus on the African American experience, racism, and capitalism.

‘I Call It Art’National Museum, OsloJune 11, 2022
Oslo’s new National Museum. Photo: Borre Hostland.
The National Museum in Oslo is set to be Scandinavia’s biggest art institution when it opens this June. Featuring more than 150 artists and collectives, “I Call It Art” is one of the inaugural exhibitions of the long-awaited Norwegian institution. The show takes stock of contemporary art in Norway, while asking the age-old question of “What is good art?”. It answers this by featuring recent works from Norway, ranging from paintings and installations to video works that were selected via open call.

Documenta FifteenVarious Locations, KasselJune 18–September 25
© documenta fifteen 2022
Documenta will be helmed by ruangrupa, a collective of artists and creatives from Jakarta, Indonesia. The concept of lumbung, meaning “rice barn” in Indonesian and referring to crops stored as a common resource for future use, drives the exhibition. “For documenta fifteen, we will focus on art practices that depend on accumulations of value in time, knowledge, and dissemination. How can we invest in those types of practices? What does investment mean?” Already, the curators are thinking differently about what an exhibition should do for the public: they announced their first artist list in a local magazine that benefits the homeless.

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