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1 week ago | 
theartnewspaper.com | Lee Cheshire
Few people have more experience at art fairs than the Italian curator and writer Francesco Bonami. “My first visit to Art Basel was in 1985. I was a struggling artist, then belonged to a group who would go to the fairs and waste time there,” he says. “Now there are many more fairs than there used to be, so going to all of them can become a sole source of entertainment.”Bonami, who curated the Venice Biennale in 2003, says he has an ambivalent relationship with art fairs.
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1 week ago | 
theartnewspaper.com | Lee Cheshire
Meret Oppenheim found fame with a furry cup—her disconcerting double entendre, Object (1936), a fur-covered cup, saucer and teaspoon—which was snapped up by the Museum of Modern Art in New York as a prime example of Surrealism. But the artist resisted being pigeonholed as a sculptor or a Surrealist. “I always did what I felt like doing,” she once said.
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1 week ago | 
theartnewspaper.com | Lee Cheshire
The artist Arlene Shechet will be in town to install one of her monumental sculptures—but will also have an eye out for works to add to her own collection. “When I make some sales, I will typically try to take a portion of that and buy a work from another artist,” she says.
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1 week ago | 
theartnewspaper.com | Lee Cheshire
“I’ve done so many Basel site visits now, I feel I really know the city,” says the New York-based curator Stefanie Hessler, who takes charge of Art Basel’s Parcours exhibition for the second time. Twenty-one works are shown around the city: some in the open air, others in places that do not normally show art, such as hotels, functioning shops and even private apartments.
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2 months ago | 
theartnewspaper.com | Lee Cheshire |Gareth Harris |Carlie Porterfield |Jason Foumberg
Kings and Queens of Africa: Forms and Figures of PowerThis exhibition claims to be the first major show of Sub-Saharan African art in the Middle East. With more than 300 objects, it is certainly wide in scope, covering multiple cultures and a millennium of history. All the exhibits are connected to the continent’s rulers, including royal attire, royal portraits, sculptures and ceremonial objects.
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2 months ago | 
theartnewspaper.com | Hadani Ditmars |Stephanie Sporn |Chinma Johnson-Nwosu |Lee Cheshire
The architect Lina Ghotmeh has been chosen to design Qatar’s permanent pavilion at the Venice Biennale. The announcement was made last week by Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani, the chairperson of Qatar Museums. Once completed, the Qatar pavilion, located in the heart of the Giardini della Biennale, will be only the third pavilion added to the historic Giardini in more than 50 years. Ghotmeh has described her practice as an “archaeology of the future”.
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2 months ago | 
theartnewspaper.com | Lee Cheshire |Aimee Dawson |Alexander Morrison |Gareth Harris
Meaning “gateway” in Arabic, the Bawwaba section of Art Dubai offers artists an entry point to the fair. It is made up of ten solo presentations of artists both established and less well-known. All of the works were made either in the past year, or especially for the fair. This year the section has been curated by Mirjam Varadinis, the curator-at-large at the Kunsthaus Zurich. “I felt this would be a good moment to reflect on the idea of co-existence,” she says.
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2 months ago | 
flipboard.com | Lee Cheshire
21 hours agoSudan - April 15, 2025 Sudan's rebel Rapid Support Forces (RSF) said they had taken control of Zamzam camp in Darfur, home to more than 700,000 displaced civilians. More than 100 people, including 20 children and nine aid workers, were killed in the fighting, humanitarian officials said. Relief International reported its clinic was targeted in the violence, and thousands have been forced to flee with no access to food, water, or shelter.
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2 months ago | 
artnewspaper.fr | Lee Cheshire |Elena Goukassian
La lente remontée après les confinements imposés par la pandémie de Covid-19 est terminée. Les musées sont maintenant revenus à ce que nous pourrions considérer comme leur « niveau naturel », où le nombre de visiteurs est déterminé par des facteurs tels que la popularité de la programmation, les contraintes physiques ou des tendances plus larges. Nous commençons à nouveau à voir les chiffres augmenter ou diminuer légèrement chaque année, tout en restant généralement dans une fourchette cohérente.
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2 months ago | 
theartnewspaper.com | Lee Cheshire |Elena Goukassian |Emily Sharpe |José Da Silva
Many museums lost visitors in 2024—and that is a good thing. Why? Because it shows that the slow build-back after the Covid-19 closures is over, and now museums are back at what we might consider their “natural level”, where visitor numbers are determined by factors such as the popularity of the programme, physical constraints or wider trends. We are once again starting to see numbers rise or fall by small amounts each year, but generally staying within a consistent range.
