The lyrical abstractions, rich color palette, and unique visual language of Nejad Devrim—one of the pioneering figures of Turkish modern painting—come together in a new selection at Galeri Nev Istanbul.
The 12th edition of Mamut Art Project presents a selection of works by 33 emerging artists at Yapı Kredi bomontiada from 10–14 December.
Over a career spanning more than half a century, Martin Parr, who captured the absurdity and warmth of British life with a unique gaze—from The Last Resort to his critiques of global tourism, making visible the social reality behind ordinary moments—passed away
Sabancı University Sakıp Sabancı Museum presents Suzanne Lacy’s Birlikte/Togæther, the first exhibition in Türkiye.
Björk’s new exhibition, which merges ritual, ecology, and Icelandic mythology, opens on May 30, 2026, at the National Gallery of Iceland as part of the opening of the Reykjavik Arts Festival.
The legal tension between the Philadelphia Museum of Art and its former director Sasha Suda has escalated into the public sphere, marked by mutual accusations
On view at EArt Gallery through 18 January 2026, The Possibility of Exceptions draws inspiration from Alfred Jarry’s Pataphysics to foreground personal utopias, alternative realities, and the conceptual spaces opened up by exceptions.
Neriman Polat makes traces of fragility, lost grounds, and collective memory visible through everyday materials in Groundless, her exhibition at Zilberman Berlin. The show is on view until February 7.
The exhibition MAYA brings together works produced in Mardin as part of an Artist-in-Residence Program, making visible a creative collaboration rooted in the city’s memory; we spoke with curator Ebru Nalan Sülün and participating artists about this process.
Edwin Austin Abbey’s “The Hours” and related Capitol studies are on view at London’s National Gallery until 15 February 2026.
Fondation Beyeler, Chanel Culture Fund support, appoints first botanical curator, integrating art and nature in a pioneering curatorial model.
Banu Cennetoğlu’s exhibition “neither carnation nor frog”, which opened on October 25 at Bursa İMALAT-HANE, unfolds as a research field unafraid of inconclusiveness—one that stretches from “the father” and its toxic inheritances to societal memory and impossible apologies.
