Popular Events in 2024(June Updated)

This original art exhibition will introduce works with "science" and "magic" motifs, and will explore Fujiko F. Fujio's unique way of making dreams come true. The secret gadgets of the future in "Doraemon," the science laws of Planet Marl that appear in "Chimpui," the magic used in "Jungle Kurobee," and more... Through the original drawings, you can enjoy the world of "science" and "magic" that only Fujiko F. Fujio could depict.

Hauser & Wirth Southampton presents a focused exhibition of twelve new watercolors by Charles Gaines. Inspired by cottonwood trees he photographed on a 2022 trip to Arizona, ‘Numbers and Trees: The Arizona Watercolors’ provides an intimate encounter with the systems and processes through which the celebrated conceptual artist develops his constantly evolving ‘Numbers and Trees’ series. The trees Gaines photographed during this trip will form the basis of a new series of Plexiglas works that the artist will debut in his forthcoming solo exhibition at the Phoenix Art Museum.

While the landscape genre has long been associated with picturesque vistas, Shifting Landscapes considers a more expansive interpretation of the category, exploring how evolving political, ecological, and social issues motivate artists as they attempt to represent the world around them. Drawn from the Whitney’s collection, the exhibition features works from the 1960s to the present and is organized according to distinct thematic sections. Some of these coalesce around material and conceptual affinities: sculptural assemblages formed from locally sourced objects, ecofeminist approaches to land art, and the legacies of documentary landscape photography. Others are tied to specific geographies, such as the frenzied cityscape of modern New York or the experimental filmmaking scene of 1970s Los Angeles. Still others show how artists invent fantastic new worlds where humans, animals, and the land become one. Whether depicting the effects of industrialization on the environment, grappling with the impact of geopolitical borders, or proposing imagined spaces as a way of destabilizing the concept of a “natural” world, the works gathered here bring ideas of land and place into focus, foregrounding how we shape and are shaped by the spaces around us.

Featuring 25 site-specific, newly commissioned installations, Making Home—Smithsonian Design Triennial explores design’s role in shaping the physical and emotional realities of home across the United States, US Territories, and Tribal Nations. The exhibition is the seventh offering in the museum’s Design Triennial series, which was established in 2000 to address the most urgent topics of the time through the lens of design.

To mark the 100th anniversary of the Griffelkunst-Vereinigung Hamburg e.V., the Hamburger Kunsthalle will show in its Hubertus Wald Forum a broad selection of lithographs, screenprints, etchings, woodcuts, and also photographs and C-prints from the 100 years of the programme, as well as some archival documents. The association has been publishing original graphic editions since 1925, making print series by selected artists available to its members. The works are chosen not according to their formal or thematic coherence but because they provide a repre-sentative idea of the respective artist’s oeuvre based on examples of their graphic work. The Griffelkunst-Vereinigung editions typically showcase established national and international artists alongside lesser-known, often younger artists of diverse nationalities and generations as well as collaborations with printmakers. This extraordinary graphics association today counts 4,500 members throughout Germany. The Hamburger Kunsthalle has been involved from the outset and has presented many of the series in various exhibitions over the years.

Generations of artists have explored the beauties and terrors of the ocean, reflecting on the experiences of those who have lived and lost their lives among the waves. Weaving together artworks by four artists made over centuries and across the Atlantic, this exhibition follows a genealogical thread united by the sea. Echoes of John Singleton Copley’s Watson and the Shark (1778) reverberate in J. M. W Turner’s 1840 Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), which itself has influenced art created in the 21st century.

Born in Miami to Cuban parents, artist José Parlá (b. 1973, Miami; lives in New York) was raised between mainland United States and Puerto Rico. Influenced by his proximity to Caribbean and Latin American countries, he developed an interest in diverse cultural traits, including Cuban music, hip hop, reggae, calligraphy, dance, and urban architecture and its decay, all of which would become recurring themes in his work. Consistent with his blended culture, Parlá is interested in hybrid forms of abstraction. Through a unique mark-making process, grounded in movement and bodily gestures, Parlá produces a painterly stream of consciousness characterized by addition, erasure, and layering. His physical and textural artistic process challenges conventional visual culture. Pérez Art Museum Miami (PAMM) is honored to be hosting Parlá’s first solo museum exhibition in his hometown. Featuring a new series of never-before-seen works and a site-specific mural, José Parlá: Homecoming will ultimately mirror the artist’s studio. An elaborate, two-part exhibition will allow visitors to observe Parlá’s dance-like technique in real time as he paints a site-specific mural for the first iteration of the exhibition. The second iteration will see the museum gallery transformed and converted into Parlá’s studio—a room full of paint-covered tables, a lively Cuban-inspired record collection, and decades of Parla’s archival memorabilia. In 2021, Parlá contracted a life-threatening case of COVID-19—he was hospitalized and endured a four-month coma during which he suffered a stroke and significant brain bleeding. A radical departure from the traditional use of space in a museum, this presentation not only represents a homecoming to Miami, but also marks a return to himself and his practice after this experience. Celebrating the spirit of resilience and returning to one’s roots, José Parlá: Homecoming is a testament to the profound connections among personal history, art, and creative expression. In addition to the completed mural and studio re-creation, the exhibition will also feature a number of recent works Parlá created upon his return to painting. The result is a process-focused exhibition highlighting an expressionistic painter who conscientiously engages with issues relating to Cuban and broader diasporic identity.

Amy Sherald quickly came to the public eye with her portraits of former US President Barack Obama and his wife. She defined her portrait subjects as "Americans" to express that black people are also an integral part of American identity. The nearly 50 paintings on display continue her figurative representation of the black experience, placing the characters in historically typical and everyday environments, inviting the audience to participate in a more complex debate about the recognized concept of American identity.

Luther Vandross: Artistry and Elegance celebrates the extraordinary life and legacy of Luther Vandross, an eight-time GRAMMY® winner, revered songwriter, arranger, producer, performer, and one of the most gifted vocalists in music history. The exhibit offers an intimate glimpse into Vandross’ creative process and showcases his ornate stage wardrobe, exclusive performance footage from his popular tours, and a never-before-heard recording of him in the studio. Luther Vandross first captured the spotlight in the 1970s as a sought-after backup singer, collaborating with luminaries such as David Bowie, Roberta Flack, Quincy Jones, Chaka Khan, Bette Midler, and Carly Simon. As a solo artist, he became renowned for his relatable lyrics about love and mesmerizing live performances, characterized by dynamic bands, elaborate stage designs, and striking custom costumes worn by his background singers. Vandross achieved remarkable success, charting a Top 10 R&B hit every year from 1981 to 1994 and releasing 11 consecutive platinum records, with over 40 million albums sold worldwide.

Over the last four decades, image-editing software has radically transformed our visual world. The ease with which images and text can be digitally generated and altered has enabled new forms of creative experimentation, while also sparking philosophical debates about the very nature of representation. Digital Witness: Revolutions in Design, Photography, and Film examines the impact of digital manipulation tools from the 1980s to the present, for the first time assessing simultaneous developments and debates in the fields of photography, graphic design, and visual effects. Featuring over 150 works, the exhibition traces the emergence of distinctive digital aesthetic strategies, relationships to realism, and storytelling modes. The nearly 200 artists, designers, and makers in Digital Witness illuminate today's visual culture where digital editing tools are easier to access than ever before.

What makes for a delightful picnic? Food and drink? Poetry? Music? A new installation offers a window into the pleasures, pastimes, and artistic heritage of Iran during the Safavid dynasty (1501-1736). A royal picnic, depicted on a large, treasured tile arch from the collections, is complemented by exceptional objects from the period. Gracing the Osler Gate on Level 1, a colourful tiled archway made over 350 years ago in Isfahan, Iran takes centre stage, showing picnic-goers out for an afternoon of leisure and luxury. Individual tiles reveal immaculately dressed figures relaxing, enjoying delicious food and drink, and being entertained with music, poetry, and feats of archery. Lively and cheerful, the scenes on the arch offer a wonderful glimpse into the cultural vibrancy of Iran when it was ruled by the Safavids, a Shi'a Muslim dynasty, who were great patrons of the arts and architecture, and who fostered international trade and diplomacy from Isfahan, their newly built capital city. The tile arch provides a magnificent focal point for the installation, which also showcases several stunning objects from the same period. A gorgeous lute with exquisite inlays and detail, an ornately decorated bow and arrow, a delicate swan-neck bottle, and beautifully crafted dishes - one of which carries words by medieval scholar Omar Khayyam (1048-1131) beginning with the lines: "This dish, which the intellect applauds, and on whose forehead it places a hundred kisses!" - bring the action on the tile arch to life. This beautiful collection of objects not only complements the arch scenes, but showcases the stunning artistry and intricacies of artisanal work iconic to the Safavid dynastic period. One has only to take in the physical objects to be transported to the scenes in the arch, enjoying music, poetry, food, and entertainment.

Charlie Puth is coming to Taiwan! On 5th December 2024, Charlie will bring his brand new tour ‘Something New’ Tour to Taiwan for the first time, performing hits over previous years! Charlie Puth has accumulated 35 billion listens since his debut, and has been recognised as a Grammy finalist. As an international superstar, he is coming back to Taiwan after a six-year hiatus with a brand new world tour brimming with sincerity. Charlie Puth will not only bring to Taiwan fans golden hits such as ‘See You Again’ and ‘We Don't Talk Anymore’, but also pop, doo-wop, R&B, rock, soul, and more than you would expect! Follow the latest news on Trip.com! Make a date to say goodbye to 2024 in Kaohsiung this December with Charlie Puth's voice!

Among the various mock combats fought by knights and noblemen in tournaments, the joust was one of the most spectacular. The joust of peace required highly specialized armor that was unsuited to any other use, and usually made by the greatest armorers due to the exceptional metalworking skills required. This special installation features an armor for the joust of peace of Philip I of Castile (1478–1506) on loan from the Imperial Armory, Kunsthistorisches Museum Vienna. A rare example among surviving armors for its refined decoration, it is also remarkable in that it was intended for a teenager. Its owner Philip I became duke of Burgundy, count of Flanders, and the ruler of additional lands, although in name only, upon his birth. He began wearing armor when he was just six years old, and this one was made for training and participating in tournaments around the time that he turned 15, when he was declared ready to rule. Through marriage, Philip became king consort of Castile and the first member of the House of Habsburg to rule over Spanish territories. His jousting armors were key to shaping his public image of a capable leader.

Nihon Hidankyo, the Japan Confederation of A- and H-Bomb Sufferers Organizations, has been awarded the 2024 Nobel Peace Prize. It can be said that this is the fruit of the activities carried out by the only country in the world that has suffered from atomic bombings, which has continued to call for the abolition of nuclear weapons and has poured its heart and soul into such efforts. The recognition that peace is the common prayer of all human kind is universal, regardless of whether we live in the East or the West. In light of the recent international situation, the Koji Kinutani Tenku Art Museum will hold a Special Exhibition, “Koji Kinutani Peace,” a proposal for peace through the power of art and the arts. At the root of Kinutani's world, which uses rich images and colors to explore all things in nature as a motif, is the strong belief that “Art is mightier than nuclear weapons.” His ideals and strong passion are to show the power of art as “wisdom” to help people all over the world who are suffering from the ravages of war, and to celebrate the revival of dreams and hopes in the hearts of people. Please fully experience the true essence of Kinutani’s art.

This exhibition invites you to discover his artistic journey, from the revelation of Henri Matisse's Luxe, Calme et Volupté, where the need to bring about the "miracle of the imagination" fully appeared to him, to the development of his touch in relation to that of Paul Cézanne and finally the blossoming of his own pictorial language in his studio in Vence. His unique style unfolds throughout the exhibition in the landscapes of Normandy and Provence, the motif of the studio, the views of ports and bathers or even the musicality of parties and receptions. And if the Norman is above all a painter, he also sought very early on to transpose the recurring motifs of his imagination into the illustration of books, textile creation or even ceramics. This project is an opportunity to rediscover the richness of the Dufy collection at the Museum of Fine Arts, which we owe mainly to the generosity of the artist's wife, Eugénie Brisson from Nice.

“Utopia, Dystopia” presents two single-channel videos from the MFA collection by Tony Cokes (b. 1956) and Oscar Muñoz (b. 1951). Created in the last decade, the films grapple with the duality of utopia and dystopia, expressing the artists’ senses of how idealistic visions of society often collide with harsh realities. Utopian dreams can promise a future without oppression and celebrate freedom of expression, yet achieving these ideals frequently comes into conflict with underlying dystopian truths such as systems of control, state surveillance, and deep inequality.

MARVEL AT THE POWER OF COLOUR IN THE NATURAL WORLD. Anywhere you look in nature, colour holds meaning. From the fiery reds of warning to the soothing blues of calm waters, Nature in Brilliant Colour will take you on a kaleidoscopic journey through the vibrant hues of our planet. Awaken your senses, and have your perception forever altered, as you make your way through a series of spaces, each dedicated to a colour of the rainbow. Through over 200 specimens, photo-worthy projections, and shifting soundscapes, this exhibition promises to be a transformative experience that will deepen appreciation for the complex artistry of our world and celebrate its vivid and untamed beauty. This exhibition was created by the Field Museum.

Can a photographic portrait inspire political imagination? Ideas of Africa: Portraiture and Political Imagination examines how photographers and their sitters contributed to the proliferation of Pan-African solidarity during the mid-20th century. Embracing the international spirit of the time, the exhibition gathers striking pictures by photographers working in Central and West African cities. They created images of everyday citizens, dazzling music scenes, and potent manifestations of youth culture that reflected emerging political realities. Photographs by Jean Depara, Seydou Keïta, Malick Sidibé, and Sanlé Sory portray residents across Bamako, Bobo-Dioulasso, and Kinshasa at a time when the winds of decolonial change swept the African continent in tandem with the burgeoning US Civil Rights movement. The exhibition also spotlights James Barnor and Kwame Brathwaite—photographers living in Europe and North America who contributed to the construction of Africa as a political idea. Contemporary works by artists such as Samuel Fosso, Silvia Rosi, and Njideka Akunyili Crosby show the enduring relevance of these themes. Brimming with possibility, Ideas of Africa: Portraiture and Political Imagination embraces the creative potential of the photographic portrait and its political resonance across the globe.

The creation of Joan Miró would not be properly understood without the large number of drawings, sketches, annotations and preliminary studies that he kept over the years. Miró's methodical character finds in the drawing an ideal instrument, always within reach, that allows him to retain embryonic ideas and visualize them. In some cases the works are faithful transpositions of preparatory drawings, with references to colors, measurements, the title or the technique. However, support is not always a conventional role. Sometimes an ad stimulates irony or a newspaper article provides a context or set to figures and signs, evoking how distressing or desolate the representation might be. Other times it's just a snippet to set up a fleeting mental connection. The support never disguises what it is: a ticket, a sheet of an agenda or a calendar, the back of a typed letter or the closing of an envelope. Then Miró's manual dating contradicts the printed date on the page torn from the agenda, the typed text that translutes claims to be read and the envelope leaves its folds intersecting.

Renowned multimedia artist Dieter Roth’s preferred form, and the one he spent his lifetime pursuing, was the Gesamtkunstwerk, a German term for “total work of art.” Working across a diverse range of media, disciplines, and creative activities, Roth developed an artistic practice that dissolved the boundaries between art and life, upending traditional categories, hierarchies, and even timeworn notions of singular authorship. Often collaborating with other artists, including his son Björn, Roth produced an ever-expanding body of work that gestured toward the cumulative effects of a life spent making and remaking.

Widely recognized for his singular approach towards sound and new technologies, Samson Young (born 1979, Hong Kong; based in Hong Kong) utilizes performance, video, and installation to rigorously examine the cultural, political, and historical contexts of sound. Samson Young’s first West Coast solo exhibition debuts Intentness and songs, a multimedia installation that poetically traces the idiosyncratic rhythms of love, memory, and experiences of time. In this interconnected audiovisual landscape, Young draws on the duration and rhythm of human and generative AI memory recall processes as the basis for polychromatic sculptures, videos, and a mesmerizing soundscape. Visitors are invited to wander through pathways of wooden boards with markings created through a mix of techniques and 3D-printed boards etched and embedded with objects and memories excerpted from the lives of the artist and his husband.

Although Vincent van Gogh (1853–1890) is today perhaps the most famous Dutch artist of all, in his own time he was relatively little known, especially when compared to artists of the Hague School. This group, named for the city where many of its members trained and worked, was comprised of those who had different styles but shared a devotion to the depiction of everyday life, looking to the Dutch countryside for their subjects and themes. The Hague School artists achieved international fame, and in the early 1900s US collectors and museums—including the MFA—eagerly sought their works. But over the decades the group’s fame faded.

The pub was demolished in the 1990s but the sign remained as a symbol for the community. The artist worked with the local residents and school to refurbish the sign with a new design inspired by memories of the pub and its landlord.

Guillaume Bottazzi has signed more than forty artworks in public spaces. He created the biggest painting in Japan (900 square meters) on all the walls of the Miyanomori International Museum of Art in Sapporo. The artist is also the author of 6 paintings, each one 6m x 6m, at La Défense in Paris, the largest open-air contemporary art space in France. The painting, which can be seen by the public at its location in the European District and which took two and a half months to produce, is already well-known. The monumental artwork, 16 metres by 7 metres, now belongs to the heritage of Brussels-Capital. The painting is one of the first abstract works to be painted in the manner of the Old Masters. The abstract nature of the work and the traditional techniques used to produce it create a feeling of strangeness, a dichotomy. The artist worked alone to produce the work, using fine brushes and oil paints. Successive transparent overlays give depth, diffuse light and softness to the colours. Before starting to paint, the artist installed a supporting structure that enabled him to reproduce as closely as possible the techniques of creation he uses in the workshop. The poetic dimension of this painting will extend throughout Place Jourdan: the colours of the painting will appear on the street furniture in particular, especially the cafe parasols. This project was carried out with the partnership of the European Commission in Belgium and support of the French Embassy. More reading: http://www.guillaume.bottazzi.org

Explore the interactive displays, listen to recordings and view the different objects on display to gain an insight into the work, life, and cultural context of one of the twentieth century’s most significant writers. The exhibition is family friendly, free, and open Tuesday to Sunday. The exhibition comprises a main room, a temporary exhibition area which houses changing displays, and a learning space which is open to the public when not in use for workshops. There’s lots to explore on the interactive Timeline, such as the Children’s Trail which features some of the animals that appear in Dylan’s writing. Follow the People Trail around the Timeline, too, and discover some of the key people in Dylan’s life, and the rich cultural context in which he lived and worked. One section in the centre of the exhibition is dedicated to Dylan the writer, and another to Dylan the performer. There are fun interactives, and touchscreens which tell the story of Dylan’s Notebooks, explore his famous poem ‘Do not go gentle into that good night’ and look at the circumstances surrounding his death. Listen to Dylan himself, and those who knew him, via the built-in speakers in the chairs.

Liverpool Mountain is Swiss-artist Ugo Rondinone’s first public artwork in the UK and the first of its kind in Europe. Inspired by naturally occurring Hoodoos (spires or pyramids of rock) and the art of meditative rock balancing, this 10-metre high sculpture stands within Mermaid Courtyard, outside Tate Liverpool on the Royal Albert Dock Liverpool. It consists of coloured rocks, stacked vertically which seem to defy gravity. This outdoor sculpture marks the 10th anniversary of Liverpool European Capital of Culture, the 20th anniversary of Liverpool Biennial and the 30th anniversary of Tate Liverpool. Commissioned by Liverpool Biennial and Tate Liverpool as part of the Liverpool 2018 events programme with support from Royal Albert Dock Liverpool.

After having created a 6m x 6m painting as part of Marseille-Provence 2013, a 20m x 12m work in Nice, many private commissions in the region and most recently a painting in Marseille-Prado … it is in Martigues , the Provençal Venice, that the artist has realized a permanent work of 10m high by 8m wide. This monumental artwork now belongs to the city heritage. This permanent painting marks the entrance to the harbour. It is to discover from the mayor house, or by boat, using the free shuttle service operated by the city of Martigues. Guillaume Bottazzi has signed more than forty artworks in public space. One of them is the biggest painting in Japan, realized for the Miyanomori International museum of Art. One other, a polyptych, compound of 6 canvas of 6mx6m each, takes place in the artistic path of Paris La Défense, the largest open-air contemporary art space in France, with artists Alexander Calder, Richard Serra, Joan Miró, César, and so on... Guillaume Bottazzi was a guest of “French May” in Hong Kong in 2016. He created one of his most recent work in a public space in Belgium, in Brussels, with the partnership of European Commission in Belgium; a painting 16 metres high that now forms part of the heritage of Brussels-Capital.

Come and look behind the scenes of Manchester’s publicly owned sculpture collection. Part exhibition, part research space, Out of the Crate delves into the un-tapped history of the collection. This is an opportunity to investigate sculpture through access to stored collections and archival material. Find out what’s in store and how we look after it, help unlock hidden stories about works we know very little about and explore how artworks might encourage conversation. We have about 400 sculptures from antiquity to the present day and, until recently, less than 5% were on display. As well as modern and contemporary works, there are 19th-century sculptures and works from earlier periods that have rarely been seen this century and are under-researched. On display are a large range of materials including marble, bronze, wood, glass, ceramic and paper, a variety of sizes and shapes and different techniques of making. From bronze medals decorated with reliefs to large-scale free-standing 3D works, you can now see around 30% of the sculpture collection here. In terms of representation, we should also consider who has and hasn’t been included in the collection.

Guillaume Bottazzi a réalisé un tableau fruité en face du parc Montsouris. Il est visible de l’extérieur, au 34-36 avenue Reille, à Paris dans le 14ème arrondissement. Ce tableau apporte l’art ou on ne l’attend pas forcément et accompagne le quotidien des habitants. Cette huile sur toile de lin mesure 0,90m de haut par 1,80m de large. Elle a été conçue pour habiller l’entrée d’un bâtiment et dialogue avec les éléments qui l’entourent. L’artiste a déjà créé plus de 65 œuvres dans des espaces publics, comme un polyptique de 100m² à Paris La Défense, à Hong-Kong ou au Japon où il est l'auteur de la plus grande peinture du Pays, commandée par le Musée International d'Art Miyanomori. Ses œuvres font partie de collections muséales, notamment en Asie et aux Etats-Unis.