#rijksakademie

#rijksakademie

The two-building complex aims to spotlight the many ways global artists, designers, and makers use creativity to shape the world, dedicated to creative opportunity and its power to bring change.

Ruinart has invited internationally renowned artists to artistically interpret the Maison since 2008, with this year's collaboration featuring Tadashi Kawamata's unique vision.

Knowles's performances, such as Make a Salad and Identical Lunch, showcased her unique approach to art through food, engaging audiences in the experience of preparation and consumption.

The design for Youth Center Mena stems from an explicit ambition to create a place of encounter, focusing on the needs and wishes of its users from the outset.

Casa Kahlo offers an unprecedented look into the famed Mexican painter's family home, Casa Roja, which stands just blocks away from Casa Azul in Mexico City. Kahlo would retreat to Casa Roja when Casa Azul got crazy.

The Featured section highlights projects in newly discovered locations, opening the city's art landscape to diverse, experimental and site-specific approaches.

Much of Instagram's video content is organized around transformation-the virtual magic of the before-and-after and clips that show cause and effect. A person makes pasta from scratch in 20 seconds via edits that compress time-intensive labor.

In both places, there was a sense of energy building that was not yet fully visible. The experiences made me realize that, while sales totals and fair brands can serve as benchmarks of centrality, slower, structural transformations are taking place throughout Asia that merit closer attention.

The after-hours special showcase was first tested in January 2024 on the sidelines of the Africa Cup of Nations football tournament hosted and won by Cote d'Ivoire.

Her practice uses clay to bring people together with the "therapeutic aspects of tactile making". She first came to ceramics during university, where access to the department allowed her to fall in love with the practice. And so, Ciara is deeply cognisant of the importance of supporting those who struggle to access a ceramics studio due to various social factors.

Community-led work is critical to preventing hate and addressing the conditions that allow bias to take hold. These grants support New Yorkers who are doing the hard, meaningful work of bringing people together, strengthening relationships, and helping build a city where everyone belongs.

The heavy brick mass of the early twentieth century warehouse stands steady at the corner, its facades still marked by decorative lintels and deep-set openings. Above, two added floors sit within a perforated aluminum veil that glows softly at dusk. The metal skin reads as a light canopy hovering over the old masonry, a precise intervention that contrasts the museum's new public life with its working past. See designboom's previous coverage here.

Situated between two university campuses, the new Study Center acts as both a physical connector and a social catalyst.

Pratt Shows is an annual series of public exhibitions and presentations by the Institute's graduating class, representing years of research, exploration, and creative inquiry.

The 6th edition of Earth 2026 juried awards invites artists worldwide to explore and express the power, beauty, and resilience of our wounded planet as we approach World Earth Day.

The New Museum has been growing in visitors, exhibitions, and activities, transforming the institution into a cultural laboratory with diverse engagements.

The new New Museum is many things: contemporary, perhaps, but also a science, history, anthropology, and many other museums in one. It echoes the desire of its patron class to own the world and its affiliated courtier class to deliver it to them on a silver platter, or encased in perforated metal, in this case.

The RA is led by leading artists and architects, with the UK's oldest-and, crucially, free-art school at its heart. The opportunity to shape the RA's artistic programme and respond to its extraordinary gallery spaces, as well as launching the expanded Collection Gallery, is tremendously exciting.

Looking at old art gives me a sense of craftsmanship, of what can be achieved with paint. There is nothing comparable with Tefaf. The atmosphere of quality is unmatched. Contemporary art collectors are discovering value in historical works and the fair's curatorial standards, representing a potential shift in how different collector demographics engage with art across temporal boundaries.

On Franklin Street in Brooklyn's Greenpoint neighborhood, one non-commercial gallery fosters 'a small, stubbornly human space for friction.' Friction—the ubiquitous buzzword that captures the simultaneous delight and discomfort of doing things the slow way—is at the heart of artists Pap Souleye Fall and Char Jeré's current show at Subtitled NYC. It also reflects the overall spirit of this little exhibition space and of a burgeoning movement to reject our culture of optimization in favor of a bumpier, more intimate, less alienating experience.

In establishing the fair, a foundation (stichting in Dutch) seemed the most fitting legal entity for the purpose of creating an event 'run by dealers, for dealers... so that nobody had an advantage over anybody else.' That Tefaf operates as a not-for-profit differentiates it from other major art fair brands. There are no shareholders demanding a return, no owners to primp the thing for sale.

This first edition book of Shakespearean poems was published by Kelmscott Press, the private press founded by the English designer and author William Morris in 1891. This example is covered in an opulent, bejewelled binding from the renowned London bookbinders Sangorski and Sutcliffe. The decoration, set with mother-of-pearl and more than 100 precious stones, takes inspiration from the sonnets inside.

The gallery's inaugural presentation marked the first time Australian First Nations art had been presented at TEFAF Maastricht, and with sales totaling nearly $1.4 million, further underscored the growing relevance and interest in the category. Building on the momentum of the 2025 presentation, D Lan Galleries will now focus on works dating from the 1970s through today by artists whose practices have shaped the evolution of Australian Indigenous art.

After six successful years supporting nearly 250 fellows from around the world, the artistic research and residency program Οnassis AiR has become a container of cross-disciplinary exchange among local and international art practitioners and researchers. Process, research, and experimentation are at the core of the residency: participants are invited to delve deeper into their practice without the pressure of presenting a final work.

While Armenia has long been recognized for its rich and storied historical art and culture, the country's contemporary art scene is emerging as one to watch on a global scale. Armenian artists stand out for their ability to synthesize their own cultural heritage with avant-garde approaches to contemporary artmaking, bridging tradition with self-expression. Paralleling broader rising critical and market interest and investment in regions outside of the West, ARAR Gallery of Utrecht, the Netherlands, is at the forefront of Armenian art's mounting international presence.

IDSVA's pioneering curriculum - fusing interactive online education with intensive residencies- allows working art professionals to pursue rigorous advanced scholarship without having to interrupt or abandon their teaching careers, art practice, or other professional responsibilities. You don't have to choose between your current work and your intellectual growth - our program is designed for both.

designed by the Institute for Doctoral Studies in the Visual Arts (IDSVA) and philosopher Giovanbattista Tusa (Visiting Faculty, Independent Study and Dissertation director) for curators, artists, researchers, and cultural practitioners seeking to engage with the living context of the Venice Biennale. Over four days, participants will move through a sequence of philosophical orientations - Rooting, Growing, Branching, and Cultivating Futures- that frame art as a mode of world-disclosure and situated intervention.