This autumn Tate Modern is presenting the UK’s first major retrospective of the work of Anni Albers (1899–1994). This exhibition brings together her most important works from major collections in the US and Europe, many of which are being shown in the UK for the first time, to highlight Albers’s significance as an artist. Opening ahead of the centenary of the Bauhaus in 2019, this exhibition is long overdue recognition of Albers’s pivotal contribution to modern art and design, and part of Tate Modern’s wider commitment to showing artists working in textiles. Anni Albers combined the ancient craft of hand-weaving with the language of modern art, finding within the medium many possibilities for the expression of modern life. Featuring over 350 objects including beautiful small-scale studies, large wall-hangings, jewellery made from everyday items,

Last week saw the opening of the sensational major exhibition Frans Hals and the Moderns in the Frans Hals Museum. This is the first time that Frans Hals’ paintings have been shown alongside reactions to his work by modern painters at the end of the 19th century. Through its own collection and some fifty loan works, the exhibition shows the enormous impact that Hals had on Modern painters, who considered him as one of their own: ‘Hals, c’est un moderne’ (quote from the Belgian magazine L’Art Moderne in 1883). ‘It is especially relevant that we are holding the exhibition that we have always “had to hold� at this particular point in time, because it is exactly 150 years since Frans Hals was rediscovered,’ according to Ann Demeester, Director of the museum. The exhibition shows how innovative Frans Hals was and can be seen at the Hof building from 13 October 2018 to 24 February 20

In 1929 Barcelona hosted the International Exposition. Mies van der Rohe, in collaboration with Lilly Reich, designed the German Pavilion, otherwise known as ‘Barcelona Pavilion’. On the initiative of Josep lluís Sert and Josep Torres i Clavé, the GATCPAC (Group of Catalan Architects and Technicians for the Progress of Contemporary Architecture) was founded. André Breton wrote the Second Surrealist Manifesto. In Paris, a group of abstract artists led by Joaquín Torres-García and Michel Seuphor, founded Cercle et Carré. That same year, the Museum of Modern Art (MoMA) opened in New York and Virginia Woolf published her first essay A Room of One’s Own. This is the cultural context that initiates the new presentation of the MACBA Collection, set out as a chronological path from 1929 to the present. This display includes a number of key works from the

From October 12, 2018, to April 23, 2019, the Solomon R. Guggenheim Museum presents the first major solo exhibition in the United States of the Swedish artist Hilma af Klint (1862–1944). When af Klint began creating radically abstract paintings in 1906, they were like little that had been seen before: bold, colorful, and untethered from recognizable references to the physical world. It was several years before Vasily Kandinsky, Kazimir Malevich, Piet Mondrian, and others would take similar strides to free their own artwork of representational content. Yet af Klint rarely exhibited her remarkably forward-looking paintings and, convinced the world was not ready for them, stipulated that they not be shown for 20 years following her

Mudam Luxembourg – Musée d'Art Moderne Grand-Duc Jean presents the first exhibition in the Grand-Duchy dedicated to Jeff Wall. The exhibition Appearance is conceived in close collaboration with the Canadian artist and proposes, through 27 large-format photographs, an overview of his work from the end of the 1970s to today. It includes the iconic works Picture for Women (1979), The Storyteller (1986) and Restoration (1993). A large body of recent photographs is presented for the first time in a museum setting in Europe. Jeff Wall has transformed the way we think about photography. By aligning photography with a broader pictorial tradition and considering its relations to other arts—painting, but also cinema and literature—Wall has redefined its essence and extended the field of its possibilities. Each of Wall’s “photographic tableaux,� whether the lightboxes, dating from 1978