A joint residency by artists David Adamo, Giacomo Porfiri, and Wolfgang Staehle revivified the poem that was the CoBrA and Situationist International cofounder’s Albisola home.

Gripped by a crisis of purpose, institutions that once formed culture’s vanguard are redecorating the past in two genres of nostalgia. Is there a way out?

Cast in clay, collage, and lyrical fragments, a constellation of gracefully raw works in Vienna beckon into the artist’s world of fables.

In Karlsruhe, an exhibition of wordplays and unruly language salutes the work of early women programmers and recasts art as the bureaucracy of dreams.

In our latest print issue, a recovering artist details the thankless, feckless, and pay-less compromises of writing sense into art.

The co-director of a Berlin festival for experimental music talks designing mass moments for art in the many possibilities of an audience’s trust.

The misfit-starring, guerrilla director’s show at a former Berlin crematorium explodes with four decades of catharsis.

As part of ImpulsTanz, a Vienna exhibition by the choreographer William Forsythe draw attentions to how the body is reined, in ways seen and unseen.

A Renaissance woman expounds on awkwardness as a live feeling, the freedoms of art’s nonsense economy, and her exhibition at Osservatorio Fondazione Prada, Milan.

Recent debut novels by Rachel Cattle, Sinéad Gleeson, and Hannah Regel deal with the realities of women making a living making work.

Ahead of her return to mumok & ImPulsTanz, Vienna, the Korean dancer and artist unpacks her interest in control.

Artist Ed Atkins and poet Steven Zultanski recommend eight very agitated or awful books for the summer.

Is gender a disease, or a corrupted diagnosis? Skolnik’s genre-exploded book The Ginny Suite proposes a new kind of protagonist: the anti-woman.

Amid the bare studs of a vacant FiDi highrise, a self-organized exhibition reanimates memories of New York’s abandonment and once-settled feuds over the myths of abstract art.

Opening her first-ever museum show at OK Linz, Pussy Riot’s founder sex dolls, fighting Putin over the uses of religion, and sublimating pain through artistic violence.

The author of My First Book on the tattoos she regrets, retelling Shakespeare for Gen Z, and how long it takes for a cultural event to become a bouncy house.

In the new documentary High & Low, the “fall” of the Margiela and former Dior designer is a plot to finger the fashion industry’s nostalgia while obscuring that what all redemption stories do is move product.

In coitus and nuns’ veils, cabaret and liturgy, roller skates and torrents of blood, Austrian choreographer Florentina Holzinger’s SANCTA is living feminist utopia now.

After co-opening the Biennale’s German Pavilion to responses of awe and protest, we spoke to the Israeli artist about artistic ambiguity, the war in Gaza, and the redemptive promise of outer space.

The dissident artist’s videos probe the memory of state socialism. In tutus and pointe, her Austrian Pavilion at the 60th Venice Biennale envisions the downfall of Russia’s current evil sorcerer.

Where the politics of the stranger might invent radical futures from outsider-art forms, Adriano Pedrosa’s exhibition offers little more than a safe space for essentializing folklore.