– In his biggest public-art work, Richard Serra shaped and interpreted the Zekreet desert landscape, in Qatar, through four major steel structures.
– Olafur Eliasson’s “circle bridge” – just inaugurated in Copenhagen – brings people closer to the water and encourages them to slow down a little and take a break.
– In Milan, a dialogue between Superstudio and 19 contemporary artists establishes connections and relations among the Florence group’s research and contemporary culture.
– Part of the art village The Good, the Bad and the Ugly, conceived by Atelier Van Lieshout for the Ruhrtriennale, the Domestikator symbolises the power of humanity over the world.
– The major exhibition of Antony Gormley’s sculptures at Galerie Thaddaeus Ropac is a continuation of his conception of the exhibition as a physical and psychological test site.
– The hefty volume by Matt Zoller Seitz is a semi-serious thesis structured in three acts, each of which unfolds around a long, in-depth interview with the film-maker Wes Anderson.
– Appartement 50 is the third step of Cristian Chironi’s project, in which he turns Le Corbusier’s houses into “privileged vantage points” to understand how his legacy is perceived today.
– At the Galleria Continua in San Gimignano, the work of the great Anglo-Indian artist Anish Kapoor contemporaneously evoke an array of contrasting images: such as the imminent arrival of a cataclysm but, at the same time, the call of a whale anxious to draw its young close.
– In the U.S. Pavilion at Venice Art Biennale, They Come to Us without a Word by Joan Jonas is a poetical political single art work occupying the five pavilion’s galleries.
– From Syrian musician Alaa Arsheed’s residency at Fabrica comes an album that tells about Syria, its perfumes, the courage of its people and ends with a surge of hope.