The commissioning body’s decision to bypass an open call for next year’s edition of the Biennale has been met with mixed feelings by the local art community.
The Rijksmuseum’s Vermeer exhibition made headlines, but across Europe, many institutions seem to be quietly inching back to their pre-pandemic peaks.
Around the World in 80 Coins at Vienna’s Kunsthistorisches Museum tells the stories of ancient gods, queens, and everyone in between.
Fittingly titled The Laboratory of the Future, the 18th edition of the show instructed participants to reuse materials and minimize their carbon footprint.
Monstrous Faces and Caricatures invites viewers to confront ugliness and the questions it raises about how we relate to it.
“We wanted Kunsthalle Wien to address multiple Viennas, not just the old established one,” said What, How & for Whom, whose contract at the institution was not renewed.
At least 108 Armenian monasteries, churches, and cemeteries in Nakhichevan have been demolished or blown up by the Azerbaijani government, according to the Caucasus Heritage Watch.
The open-air exhibition of works by Ukrainian artists at the 59th Biennale includes art created in bomb shelters, in exile, and from a place of strength and hope.
“[Assange’s] imprisonment marks the collapse of a free and civilized society,” Ai Weiwei told Hyperallergic.
For the first time in three centuries the Belvedere Museum is displaying creations by artists who are not Austrian and have no connection to Austrian art.
For Franz Xaver Messerschmidt, his Character Heads were his way to forestall the demons that tortured him.
Uprooted and soulless, the stone and metal statues at Memento Park have long outlived the world that gave birth to them.