David Hockney’s retrospective at Fondation Louis Vuitton is full of new beginnings.
Centre Pompidou’s centennial exhibition is a celebration of an art which surrenders itself to Eros.
Can collective psychotherapy cure contemporary art? A new show at Palais de Tokyo suggests it might.
Anna-Eva Bergman’s first major retrospective in Paris is unlike anything else.
As Europe arms itself for war, Paris is preparing for the 2024 Olympics. Cyprien Gaillard captures the stupid and the sublime in our increasingly bewildering world.
The 16th Lyon Biennial is a familiar mix of Surrealism, archival findings, and sleek animations. Is a comfortable view of the world in ruins all that art can muster?
Philosopher Catherine Malabou wants to change anarchism’s bad rap.
Documenta 15 is all about networking.
Ten years after her death, Ulla Rosen Winbladh Culioli’s tapestries are being shown for the very first time. Galerie Odile Ouizeman’s show in Paris is a revelation.
The curator and critic’s new book of collected writings neglects his role as champion of blockbuster shows.
After disappearing a decade ago, Martin Margiela’s resurgence as a contemporary artist comes at least twenty years too late.
The 11th Gothenburg Biennial tells a powerful story about seafaring, colonialism, and racism, but suffers from a certain artistic and intellectual predictability.
On a protected island, climate friendly works are presented without unnecessary doomsday rhetoric.
‘Progress and catastrophe are two sides of the same coin’, according to Charles Teyssou and Pierre-Alexandre Mateos, curators of Stavanger Secession.
Tori Wrånes takes the depressing spirit of our times seriously, without letting it dampen the mood.
For all its racket, Moderna Museet’s Mike Kelley-show fails to speak to the current moment.
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