"This is the exhibition of one who has no resume, who has no market and who is not looking for one, the exhibition of one who does not exist": after Cosima Von Bonin's solo show, which opened the new space on Via Filippino Lippi, Ordet hosts the exhibition curated by Roberto Cuoghi and Oppy de Bernardo, dedicated to Luigi D'Eugenio. An invisible artist who has never appeared in public, the curators say he would work and live in twenty-five square meters, and all we know about him is his tax code, which is also the title of the exhibition. Wide recycled canvases on which color is spread in bands, as if following the rhythm of a fax machine, and the subjects, faces, landscapes, interiors, are suggested by the Web – the only window D'Eugenio would have on the world.

Curated by Maurizio Cattelan, who has taken a liking to playing the role of curator, together with Sam Stourdzé, “Chromotherapia” is an exhibition that explores another history of color photography in the 20th century through the eyes of nineteen artists. Traveling through seven thematic sections, we are taken to saturated and vivid worlds where color stimulates the senses and the mind. Historically underrated, color photography has instead contributed to the liberation of creativity, weaving connections with pop art, surrealism, kitsch and baroque. From the first autochrome process in 1907 to the present, color has evolved as a narrative tool, redefining aesthetics and meanings.

Through May 25, Kunsthaus Bregenz is hosting a solo exhibition by Precious Okoyomon, an artist who combines art, poetry and performance in her practice, addressing themes such as identity, spirituality and colonial history. Several new works are on display: environments inspired by the studies of psychoanalyst Carl Gustav Jung, on the first floor, where one can dwell on dreams, memories and hidden feelings; on the second floor, a huge stuffed bear abandoned on a soft pink carpet, with its tear-shaped eyes and hearts on its paws invites moments of bewilderment and daydreaming. On the third floor, visitors enter an enclosed garden where butterflies flutter among metamorphosing chrysalises. Outside the humid, warm habitat, a film shows a flight over the suburbs of Okoyomon's home state of Ohio, in which the artist pilots the plane reading his own poetry to the sky.

With more than one hundred works by fifty women artists, including painting, sculpture, installation, and performance “Radical Software: Women, Art & Computing 1960-1991,” at Kunsthalle Wien through May 25, explores the pioneering role of women in digital art. The core of the exhibition, curated by Michelle Cotton, revolves around women artists who, since the 1960s, were among the first to use mainframe computers and minicomputers, or to work with algorithmic and mathematical systems to create works of art. In a context also marked by the second feminist wave, the exhibition reconstructs a little-known history of digital art, including names such as Dara Birnbaum, Agnes Denes, Gretchen Bender and many others.

Richard Wright through June 22 is at London's Camden Art Centre with his first solo exhibition in a London institution, and the largest institutional exhibition in the UK in more than two decades. A new monumental site-specific work, painted directly inside the building, along with works on paper, in glass and three-dimensional objects that reveal lesser-known aspects of his work, the exhibition is conceived as a series of moments that dialogue with the building's Victorian and postwar architecture. The works include two large stained-glass panels suspended in the central atrium and more than fifty drawings made over a period of thirty years. Also, on view are works in gold leaf, recalling the 2009 Turner Prize - winning work.

Since the 1950s, African American, Caribbean and African artists have found fertile ground in Paris to contribute to renewal in contemporary art. “Paris Noir. Artistic circulations and anti-colonial resistance” is an immersion in the cosmopolitan Paris that has become a crossroads of resistance, creation and cross-cultural identities, featuring the works of one hundred and fifty artists, many never before exhibited in France. Through movements such as Afro-Atlantic abstraction, surrealism and free figuration, the exhibition explores the contribution of artists of African descent to the redefinition of modernisms, tracing more than fifty years of struggles for emancipation and against racism, from African independence to the fall of apartheid.

Ikon presents a major solo exhibition by Burmese multidisciplinary artist Htein Lin, dedicated to his human and political experience. On display are more than forty-five works from the “000235” series (1998-2004), made on uniforms and textiles found during his time in prison as a political prisoner, along with drawings, sculptures, videos and new creations. These include “Fiery Hell” (2024), which depicts the drama of the civil war in Myanmar, and “A Show of Hands” (2013-), with plaster casts of the hands of former political prisoners. Htein Lin has also worked with prisoners at HMP Grendon Prison, exploring the materials, tools and subjects of prison art between the UK and Myanmar.

For more than four decades, artist, architect and filmmaker Alfredo Jaar has been tackling complex sociopolitical issues, investigating the limits of ethics and representation. Through June 1, Kindl in Berlin is hosting “The End of the World” (2024), a site-specific installation that denounces the greed associated with natural resources, an issue the artist has held dear since the 1980s. The project focuses on ten strategic metals – including cobalt, lithium and rare earths – that are critical for digital and military technologies, but whose extraction causes environmental devastation and serious human rights violations. The work grew out of five years of research with political geologist Adam Bobbette and reflects on the ecological and geopolitical impact of resource exploitation.

Feldmann's “100 Jahre” (100 Years) photographic series consists of one hundred and one black-and-white portraits of people between the ages of eight weeks and one hundred years, all belonging to the artist's family or friend circle. Each image, centered and sharp, shows a face accompanied by name and age, symbolically representing a year of life. Arranged in chronological order, the photographs form a timeline that invites the viewer to confront time, recognizing themselves in the faces of their peers, observing the past and imagining the future.

The exhibition that the Stedelijk Museum is dedicating to Anselm Kiefer, in collaboration with the Van Gogh Museum, highlights the deep connection between the German artist and the Netherlands, particularly with the museum itself, which has supported him from the beginning, acquiring some of his works, and dedicating a solo exhibition to him in 1986. Today, the Stedelijk is bringing together their entire Kiefer collection for the first time, alongside recent works and two new immersive installations, including “Sag mir wo die Blumen sind” (2025), the work that gives the exhibition its title, and which originates from a famous 1955 pacifist song performed by Marlene Dietrich, carrying themes dear to Kiefer's practice, such as those of transience, human destiny and the cycle of life and death.