Living with Todd Hido’s photographs is a privilege. “Atmospheric”, his solo exhibition at Alta, brings together more than three decades of work: nocturnal suburbs, charged interiors, empty roads, glowing windows, and weather-swept landscapes that have made Hido one of the defining voices in contemporary photography. Installed in our gallery-home in the Andorran Pyrenees, 1,342 metres above sea level, the exhibition takes on an intimate and unexpected form. These photographs are not shown in a neutral white cube, but within lived-in rooms, where architecture, light, furniture, and the surrounding landscape become part of the experience. Seen this way, Hido’s images shift throughout the day. They hold the silence of the house, gather with the changing light, and speak quietly of home, memory, desire, and the places that continue to haunt us.

"When I first discovered this project, I was immediately captivated by its location and by the story it was already telling. Hotel Hana is situated in a unique part of Paris, where two worlds naturally coexist: the elegance of the Belle Époque and the strong Japanese influence that has become part of the identity of the Rue Sainte-Anne neighborhood. This proximity between two cultures, two sensibilities, and two visions of beauty quickly became the starting point of our creative reflection. I never wanted to create a Japanese hotel in Paris. Rather, my intention was to imagine a place where these two heritages could engage in a subtle and meaningful dialogue. I am always drawn to projects that tell a story without being overly explicit. For Hana, we sought to create an environment where both Japan and Paris could be felt intuitively—through materials, proportions, light, and atmosphere—rather than through literal references. This project is probably one of the most minimalist I have ever designed. My work is often associated with a certain decorative richness, but here I wanted to explore a quieter form of sophistication while preserving the sensuality and warmth that are so important to me. The idea was to create a true jewel box: an intimate, welcoming, and precious place where every detail contributes to a larger emotional experience."

UCCA Center for Contemporary Art presents “Carsten Höller: Two,” from July 14, 2026, to January 31, 2027. Featuring some of the artist’s most iconic works alongside a selection of new pieces, the exhibition unfolds as a “Laboratory of Doubt,” exploring themes of repetition, play, time, dreams, and collective experience. Through participatory installations and “influential environments” that challenge our understanding of reality, Höller invites visitors to embrace uncertainty and encounter the world, themselves, and others in unexpected ways.

Celebrating the 60th anniversary of Yvonne Rainer’s ground-breaking work Trio A, dancers perform the piece continuously in a staging devised for Tate Modern’s Turbine Hall. First performed in 1966, Trio A challenged traditional ideas of dance. Instead of focussing on plot or narrative, the dance is made up of a steady sequence of gestures, such as toe-tapping, folding or rolling. The dancers deliberately refuse to make eye contact with the audience. Dancer, choreographer, filmmaker and writer Yvonne Rainer played a key role in revolutionising dance in the sixties and early seventies and has inspired many generations of contemporary performers. The performance is standing, folding stools will be available for those that need them.

With the Re-enchanting Villa Medici project, we have created dialogues between styles and eras. A decor tells a story, conveys a message about the spirit of a place. The spirit of Villa Medici is the stratification of these contemporary interventions that have become heritage. Before being places, institutions are spirits.

This retrospective exhibition of Hiroshi Sugimoto is organized around the theme of “extinction,” under the title Extinction Photography. The theme emerged from the circumstances surrounding the decline of traditional analog silver-based photography with the advancement of digital technology, as well as from the fact that the artist’s career is now approaching its final chapter. The exhibition was initially conceived with the idea that, behind the recurring theme of “extinction” running throughout the exhibition, another perspective—the extinction of human civilization—would emerge intermittently. Ultimately, however, the exhibition has taken shape in a way that presents Sugimoto’s vision concerning the extinction of human civilization more explicitly. Among the highlights are several new works. In Sugimoto’s Dioramas series, which is widely known as his debut body of work, a number of new pieces, including Pocot Tribe, have been added. Together, they present for the first time a story concerning human history that Sugimoto had secretly envisioned since the series began in 1975 and that has finally come to fruition more than half a century later. The perspective on human history presented here is connected, in various forms, to each of the series that follow. As you trace the development of Sugimoto’s artistic world, we hope you will pay particular attention throughout the exhibition to the message concerning “extinction” that emerges from the accumulated achievements of his more than half a century of artistic practice.

Born in 1952 in Beijing, Huang Rui lives and works between Paris and Beijing. As a founding member of The Stars (Xing Xing) art group, he is recognized as one of the pioneering figures of Chinese contemporary art. He is also acknowledged as the founder of the 798 Art Zone, Beijing's artistic neighborhood. Over several decades, Huang Rui has developed a multidisciplinary practice encompassing oil painting, sculpture, installation, and performance. His work focuses on abstraction, spatial perception, and the relationship between time, structure, and material. His trajectory reflects a sustained commitment to Chinese philosophical heritage and international artistic dialogue.

"This exhibition emerged through an ongoing dialogue between Pierre Huyghe and the Fondation Beyeler, initiated by Sam Keller, director, and Theodora Vischer, chief curator. It was conceived specifically for the museum’s spaces. From the beginning, the intention was to develop a site-specific project bringing together new works produced for the occasion, recent films, and selected earlier pieces."

“This Presentation is an invitation to look longer, to stay with uncertainty, and to recognize making as a deeply human act in which concept and craft converge, carrying both culture and the memory of the hands.” (Dries Van Noten and Patrick Vangheluwe, founders of Fondazione Dries Van Noten) Inspired by activist Phil Ochs, the title frames beauty as a catalyst for provocation and transformation. “Here, beauty is not a fixed ideal but a questioning presence – a process of inquiry where perception awakens and craft reveals itself as a radical act of encounter.” (Curated by Dries Van Noten with Geert Bruloot) It is not an escape from reality, but a way of engaging with it.” (Dries Van Noten and Patrick Vangheluwe, founders of Fondazione Dries Van Noten)

“Spaces should not feel staged or transient. Instead, the spatial experience should reveal the soul within.”

The Brancusi exhibition, realized in close collaboration with the Centre Pompidou, is the first major exhibition of the Romanian-French sculptor in Germany in more than 50 years. Showing the work of Constantin Brancusi in the Neue Nationalgalerie by Mies van der Rohe is the perfect match. For both the sculptor and the architect, the concentration on the essential form is a defining characteristic of their art, which, for me, unfolds in the exhibition in an ideal way.”

"My father wanted his viewer to have the same religious experience seeing his paintings that he had when making them. Nebulous, mysterious, incongruous (some would argue murky, turbid, empty) they challenge us to make sense of what we see, perhaps through the rather indirect avenue of what we feel.Ultimately, I believe that my father simply wanted to paint. Not document his thoughts, not write down formulas, not catalog techniques, and certainly not waste his time with small talk, spoken or written. He spoke to the world largely through his art."

“This exhibit is history, education and protest. The art of Gordon Parks makes clear that in this moment we can not turn back, we cannot remain silent and we can not retreat from advancing true justice.”

"I’m very excited about having a show at Tate Modern. For me, it’s one of the greatest international contemporary art museums in the world and it’s here in London. I feel this show, titled ‘A second Life’, will be a bench mark for me. A moment in my life when I look back and go forward. A true celebration of living."

“Kiefer’s entire oeuvre unfolds as a profound meditation on the human condition, its founding myths, on power and ideologies, on time,” notes Domenico Piraina, Director of Palazzo Reale. Curator Gabriella Belli extends the thought through the language of vision: “Kiefer’s work, after all, like a line of poetry, is able to be equally dazzling to the sight: in an instant it reveals desires, dreams, enchantments, but also violence, darkness, disillusionment.”

"Based on three years of research, this exhibition gave me the opportunity to immerse myself in the work and thinking of Daido Moriyama. Beyond his extraordinary street photography, Moriyama was also a philosopher of media who explored his ideas through the democratic formats of books and magazines. He devoted his life to reflecting on the multiple realities created by photography and the camera, helping us understand how our lives are shaped, mediated, and influenced by this parallel world of people and places constructed through images. In an era marked by the rise of AI-generated content and fake news, his insights have become even more relevant."

"Across paintings, films, photographs, and uncanny illuminated sculptures, Lynch builds a world of industrial beauty and subconscious unease, where fragmented narratives become sites of unexpected revelation. In the strange visual juxtapositions of this decaying urban landscape and others, Lynch found beauty.”

“I’m looking for the unexpected. I’m looking for things I’ve never seen before.” (Robert Mapplethorpe) The exhibition unfolds through several thematic sections featuring over 200 works that trace the entire evolution of Mapplethorpe’s visual language, from his early experimental beginnings to his stylistic maturity. “His works still have a powerful impact, though deftly mitigated by the disarming, intrinsic perfection of his monochrome compositions. […] one of the purposes of this show is to celebrate the great US master while liberating him from the cliché confining his practice to a mere provocation. Robert Mapplethorpe is so much more than that. Thus, these photographs also contain the photographer’s desire to realize a dream of quiet balance, of a harmony close to what Michelangelo, Bernini, or Canova achieved in their work, softening the marble to the point that its eroticism nearly surpassed that of a human body.”

“We can no longer exist by trying to annihilate the ‘other.’”

Set within the brutalist cavern of the Berghain power plant, the exhibition unfolds as a “film that expands into the site” through sound, light, and vibration. At its center is a nude, faceless female figure marked by a void where her head should be.

"As we continue to witness transformative shifts in the global geopolitical order, it is instructive to revisit a moment in history that saw the disintegration of colonial territories and the formation of transnational solidarity across the African continent and diaspora. This exhibition locates dazzling modes of Pan-African possibility in images made by inventive photographers who registered and beckoned in new worlds."

The exhibition brings together works from different phases of Lang’s practice and situates them within a process-oriented framework that foregrounds experimentation, material transformation, and the persistent dialogue between fashion, art, architecture and media. "Rather than following a chronological narrative, the exhibition stages a constellation of objects and fragments that reveal the underlying logic of Lang’s mindset and artistic strategies. The exhibition therefore focuses on the tension between presence and absence, surface and structure, body and object." Marlies Wirth, Curator Digital Culture & Head of Design Collection

Amid gentle hills and vineyards that stretch to the horizon, Son Xotano stands as a timeless estate that has preserved the purest, most genuine spirit of the island. Dating back to the 12th century, its traditional architecture, golden stone walls, and tranquil gardens still echo the serenity of another era. Here, days unfold at the gentle pace of the Mallorcan countryside, with magnetic sunsets, local flavors, and an atmosphere that invites deep rest. More than a destination, Son Xotano is a place to stay, to reconnect, to return.

Wilmina stands for a revitalized ensemble in a special location. At Kantstrasse 79 in Berlin-Charlottenburg, a former court building and women‘s prison have been transformed, extended and reprogrammed by Grüntuch Ernst Architekten. In a sensitive dialog with history, the architects have succeeded in radically transforming the building into a place of longing with a hotel, restaurant and bar. A gem for a deliberately chosen retreat. In this lively yet contemplative place, guests can escape the hustle and bustle of everyday city life without missing out on interaction and communal togetherness.