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Lithuania’s Venice Biennale Pavilion Heads to Berlin—and More Art News –

Lithuania’s Venice Biennale Pavilion Heads to Berlin—and More Art News –


Lithuania’s Venice Biennale Pavilion Heads to Berlin—and More Art News –

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Ahead of a 50th anniversary of the seminal convention on the trafficking of antiquities, Unesco has been accused of exaggerating the scale of the illegal trade. [The Art Newspaper]
Experimental filmmaker and video artist Aldo Tambellini, whose innovative works pushed the boundaries of cinema, has died at 90. [ARTnews]
Nazi memorabilia was stolen in a spate of robberies at war museums in Denmark and the Netherlands which have puzzled local police. [The New York Times]

Lithuania’s award-winning Venice Biennale pavilion—an indoor beach that doubles as a warning of ecological disaster—will be staged at a former coal power plant in Berlin. [The Art Newspaper]

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The Busan Biennale in South Korea has finally opened to the public. It spans Busan’s massive Museum of Contemporary Art, a warehouse, and various spaces around the city, in “a multi-course feast of a show.” Read Andrew Russeth’s full review here. [ARTnews]
The sprawling exhibition “Made in L.A. 2020: a version” is fully installed at the Hammer Museum, but its opening date remains in limbo due to the coronavirus pandemic. [Los Angeles Times]
The first major show in China of Judy Chicago’s artwork will be hosted in Shanghai to commemorate the opening of a new foundation to support women artists in the country. [South China Morning Post]
Artists & Institutions
This weekend the Museum of Modern Art will unveil a rehang of a third of its permanent collection. Roberta Smith has provided a guide to the standouts. [The New York Times]
The Kamoinge Workshop, the pioneering collective of Black photographers that formed in New York in 1963 is the subject of a group retrospective, “Working Together,” which heads to the Whitney Museum later this month from the Virginia Museum of Fine Arts in Richmond. [Vulture]
Read a previously unpublished version of Amy Sillman’s “endlessly revised essay”, which she started in 2009 during a residency at the American Academy in Berlin. [The Paris Review]

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