Jean-Michel Othoniel’s solo exhibition, OTHONIEL COSMOS or the Ghosts of Love, unfolds across the city of Avignon, France. This unprecedented project—his largest solo exhibition to date—features the artist’s poetic and symbolic sculptural language developed over the past thirty years, installed across ten venues in the city. Of the 260 works on view, 160 are being shown in France for the first time.

The exhibition is conceived in celebration of the 25th anniversary of Avignon’s designation as the European Capital of Culture and the 30th anniversary of its listing as a UNESCO World Heritage site. Taking the city's historical and literary heritage as its starting point, the project activates Avignon’s cultural landmarks through contemporary art, proposing new forms of engagement with public space and suggesting novel possibilities for site-specific art. Rooted in the city’s unique identity—shaped by its 14th-century papal history—Othoniel’s artistic intervention weaves together classical and contemporary elements, spiritual symbolism, and material experimentation on an ambitious scale.

At the heart of the project is the Palais des Papes, where 133 works are displayed across 15 spaces, including 106 new works created specifically for this historic site. These include Les Constellations, a series of suspended mirror-glass and gold-leaf sculptures representing the twelve signs of the zodiac; COSMOS, monumental golden sculptures hung like a mobile from the ceiling; and La Fontaine des Délices, a fountain adorned with Murano glass and gilded bronze, and many others, placed throughout the palace.

Beyond the Palais des Papes, the exhibition extends to other major sites across the city, including the Pont d’Avignon, the Petit Palais – Louvre Museum, the Calvet Museum, the Requien Natural History Museum, and the Lapidary Museum. At each location, Othoniel’s works—ranging from sculpture and painting to installations crafted from glass and gold—transform the city into a vast operatic stage. OTHONIEL COSMOS or the Ghosts of Love is on view through January 4, 2026.
 

Ha Chong-Hyun presents a solo exhibition Light Into Color at Château La Coste, a historic vineyard and cultural space located in Aix-en-Provence, France. Marking his first solo exhibition in southern France, the exhibition presents 18 paintings from his iconic Conjunction series from the past decade at the Renzo Piano Pavilion. 

The Renzo Piano Pavilion is located at the heart of Château La Coste’s vineyard. The gallery is uniquely set six meters below the ground, creating a valley-like setting that harmonizes with the surrounding landscape. The trapezoidal shape of the building blends into the horizon, and natural light streaming through the glass windows illuminates the works. The exhibition sheds new light on Ha's work in the light and panoramic landscape of the pavilion.

Conjunction, a representative series ongoing since the mid-1970s, endows the flat surface with spatiality, subverting the stereotypes and conventional practices of painting and breaking down the binary boundaries of tradition and contemporaneity, Western technique and Eastern spirit, two-dimensional and three-dimensional. The works presented in this exhibition, ranging from Korean monochromes to diverse colors, offer a comprehensive insight into Ha's oeuvre.

Ha Chong-Hyun commented on the exhibition as follows: "My practice of Conjunction is not simply about assembling materials but about tracing the echoes of time, allowing surfaces to breathe with history. At Château La Coste, I hope my works will not only exist within the space but become part of its rhythm, engaging with its air, light, and memory. What we see is fleeting, but meaning unfolds in layers, revealing itself over time. This exhibition is a crossing point—where my lifelong inquiry meets the quiet persistence of this land." The exhibition continues through September 1, 2025.

Daensaekhwa figurehead Lee Ufan is presenting his solo exhibition Lee Ufan: Quiet Resonance at the Art Gallery of New South Wales in Sydney, Australia. Marking his first solo presentation in Sydney, the exhibition covers Lee’s artistic and experimental journey over the past sixty years of his practice. Specifically for the exhibition at the Art Gallery of New South Wales, the artist has designed the exhibition space himself in addition to creating the eight new paintings and sculptures.

Lee’s sparing use of materials, including stone, steel, and canvas, has a quiet force that encourages contemplation of the physical and intellectual self in relation to the work or the object. The power of emptiness embodied in Lee’s works generate both harmony and tension between objects and people, based on his approach embracing Zen Buddhism and Confucianism alongside the ideas of classical and modern European philosophers. For him, the space around objects is as significant as the objects themselves; his conceptual and minimalist approach has been influential in design and philosophy beyond visual art. 

In this exhibition Lee presents four new paintings in addition to four new sculptures of the Relatum series, which he began in 1968. Also presented is the wall painting Drawing – open space (2024) inspired by his time in Sydney, as well as the stone installation work, Relatum – stone family (2024), located on the grass lawn outside the gallery.

Lee Ufan has previously exhibited his works at the Art Gallery of New South Wales as a participant in the 1976 Biennale of Sydney. Almost fifty years since, Lee Ufan: Quiet Resonance reflects on the history of the virtuoso through works representing his famed practice. The exhibition runs through September 7.
 

Koo Bohnchang, a pioneer of Korean photography who has been reinterpreting traditional Korean aesthetics through a contemporary lens, has been named the recipient of the 2025 Samsung Ho-Am Prize for the Arts. 

The Samsung Ho-Am Prize for the Arts is awarded to individuals who have made outstanding contributions to the advancement of culture and the arts through creative work and research. In addition to the Arts Prize, the Samsung Ho-Am Prize include awards in Science, Engineering, Medicine, and Community Service. Each year, six laureates are selected across these fields in recognition of their achievements. The recipients are chosen through a rigorous review process, which includes local field evaluations and the deliberation of a 46-member selection committee comprised of leading experts from Korea and abroad, including Nobel laureates, as well as a 63-member advisory board composed entirely of global scholars.

Notably, Koo is the first photographer to receive the Arts Prize since the award’s inception in 1993. The Ho-Am Foundation stated that Koo “has been at the forefront of contemporary Korean photography, blending refined artistry with bold experimentation (…) and has helped expand the boundaries of photographic expression in Korea.” It also highlighted that his acclaimed series such as Vessel and Mask “enhances the global visibility and stature of Korean contemporary art.”

Koo joins a distinguished list of past Arts Prize recipients, including Nam June Paik (1995), Lee Ufan (2001), Kimsooja (2015), Do Ho Suh (2017), and Lee Bul (2019). The 2025 Samsung Ho-Am Prize award ceremony will be held on Friday, May 30, 2025.

Korakrit Arunanondchai's solo exhibition Sing Dance Cry Breathe | as their world collides on to the screen is on view at The Museum of Modern and Contemporary Art in Nusantara (MACAN) in Jakarta, Indonesia. Marking the artist's inaugural major solo exhibition in Indonesia, the exhibition brings forth our conflicting desires for renewal and the fear of letting go by evoking a fire that exists within our collective mind.

Arunanondchai has been connecting personal experience with social commentary and exploring a wide range of themes. Presenting works produced between 2018 to the present, the exhibition highlights symbols associated with myths of creation and regeneration across cultures. Often focusing on the process of recreation, he delves into themes such as the simultaneity of decay and rebirth, and the desire for higher power. The exhibition is conceived as a theatre featuring non-human beings, who perform through light, sound, architecture, and images.

As witnessed in The Dance of Earthly Delights (2024), the phoenix is one of many prominent motifs in the exhibition. In the work, two phoenixes are arranged as if dancing on either side of the screen above a garden alongside the mytheme of the Bearing Turtle and a great serpent. The artist emphasizes the symbolism of birds and snakes in creation mythologies around the world, using them as a metaphor for the relationship humans build between social structures and the natural world. Blurring the boundaries between human and spiritual beings, his work utilizes symbolic imagery and the human figure to deepen collective narratives. It serves to deconstruct existing narrative structures and critique those no longer sufficient for understanding the present.

Arunanondchai’s work combines animism and science fiction, based on the fear that comes from loss, the unknown, and uncertainty, prioritizing human emotion and embracing complexity without definite answers. The artist describes the exhibition as one concerning “human emotions transferred into the natural world, mediums and objects,” inviting the viewers to “sing, dance, cry,” and relive the emotions projected by themselves onto the screen. Sing Dance Cry Breathe | as their world collides on to the screen runs through April 6, 2025.

Haegue Yang presents Haegue Yang: Leap Year, her first large-scale survey exhibition in the Netherlands, at the Kunsthal Rotterdam. Following its initial presentation at the Hayward Gallery in London in October 2024, this touring exhibition provides a comprehensive overview of Yang’s artistic journey spanning over three decades. Yang consistently engages the senses and dismantles well-established dichotomies through her innovative use of everyday materials and industrial objects.

Over seventy artworks—including installations, sculptures, video, text, and audio—are presented in a newly arranged layout specifically designed for the architectural space of Kunsthal Rotterdam, designed by the renowned architect Rem Koolhaas. The exhibition is organized thematically, featuring key themes central to Yang’s practice such as the ‘Social,’ ‘Political,’ ‘Spiritual Quotidian,’ ‘Quasi-Performativity,’ and ‘Singular-Plural,’ encouraging audiences to organically explore based on their intuition and association.

Featured prominently are new works including Sonic Arch Rope – Gold Hexagon Light (2024) and Sonic Droplets in Gradation – Water Veil (2024). Also presented in the exhibition is a large commission work titled Star-Crossed Rendezvous after Yun (2024), inspired by contemporary Korean composer and political dissident Isang Yun’s life and music, which garnered significant attention in London. A particularly impactful work is Storage Piece (2004), a sculptural installation produced during Yang’s early career ridden with realistic challenges with moving, during which she stored many of the works she could not keep into large installations by the same name. This piece resonates deeply with the socio-economic narratives confronting migrant artists worldwide and maintains its relevance and potency even twenty years after its initial exhibition.

After Kunsthal Rotterdam, the exhibition will travel to Migros Museum für Gegenwartskunst in Zurich from September 27, 2025 to January 10, 2026. The exhibition in Kunsthal Rotterdam continues through August 31, 2025.

Swiss contemporary artist Ugo Rondinone’s solo exhibition the rainbow body is currently on view at the Aspen Art Museum in Colorado, USA. This exhibition is Rondinone’s first major institutional show in the American West. Rondinone’s practice, spanning over three decades, has covered a wide range of media including photography, painting, poetry, outdoor sculpture, and neon rainbow signage, often exploring motifs of nature and human life. 

the rainbow body covers the multivalent significance of the rainbow, the title referencing a spiritual rite in Tibetan Buddhism in which the body is transformed into five rays of light upon death. This exhibition presents thirteen fluorescent, life-size wax casts of dancers in the gallery titled nude (rainbow) (2021), as well as several bronze candles, appearing melted to various heights, titled still.life. (2013), capturing moments of impermanence in more enduring material. 

Rondinone’s works incorporate recurrent motifs of the natural and primordial world such as rocks, clouds, and the sun, as well as language and systems of communication such as lyrics or slogans, exploring human subjectivity and experience. Highlighting the meditative contemplations and expansive practice of Ugo Rondinone, the rainbow body continues through March 30.