As the Centre Pompidou prepares to close its doors for five years of renovation, it entrusts its final exhibition to Wolfgang Tillmans—an artist whose work has consistently redefined how images can be made, seen, and shared.

The historic resonance of Klára Hosnedlová’s installation at Hamburger Bahnhof stems not only from its setting—the museum’s grand central hall, reminiscent of Tate Modern’s Turbine Hall—but also from the nature of the collaboration that enabled its creation.

At the most fundamental level, the Islamic Arts Biennale is about reunification: between the ancient and the contemporary, the tangible and the immaterial, and the intersections of civilizations and religions. The Biennale is structured around seven interconnected blocs, unified under the theme And All That Is In Between. 

It is within the impenetrable walls of the Alhambra, the Moorish fortress of Granada, inside the Renaissance-style Palace of Emperor Charles V (1500–1558), that the latest dual exhibition of Jeff Koons and Pablo Picasso takes place.

The Biennale presents a remarkable collection of 500 objects from the Islamic world, sourced both from the Kingdom and through collaborations with over 30 institutions across 20 countries—including the Vatican.

The latest exhibition of Sean Scully—one of America’s preeminent contemporary abstract painters—in Caen, Normandy, does not take place in a conventional venue such as a gallery, museum, exhibition hall, or art fair.