The Visible Award is an international production award devoted to art work in the social sphere that aims to produce and sustain socially engaged artistic practices in a global context. Visible is also a contemporary art research project, where art is understood in its capability to make people look at things with a different perspective; a repository of knowledge, in its making, for all those artistic practices that are able to lead art becoming part of something else, leaving behind its own codified field and regime of speech, and allowing it to create new meaningful readings, visions and tools about our contemporaneity and our future times.

Spongy ochre-coloured puddles ooze around the floor, a whiff of 1950s fustiness has become entangled in the spiky plant, colourful felt collages decorate the walls, and the room is populated by strange animal creatures: Welcome to the untameable realm of collective memories. This is the first museum retrospective exhibition of works by Thomas Grünfeld, who was born in Leverkusen and teaches at the Kunstakademie Düsseldorf. Grünfeld's extraordinarily diverse oeuvre, presented here for the first time in a survey exhibition, is characterised by strictly separate work groups.

Chisenhale Gallery presents a solo exhibition by Mariana Castillo Deball: What we caught we threw away, what we didn't catch we kept, a co-commission by Chisenhale Gallery, Cove Park, Scotland—where the artist undertook a residency in 2012–13—and CCA Glasgow, who presented the exhibition from 6 April to 18 May 2013. This joint commission has enabled Deball to carry out extensive research in Scotland and London, and to produce a major new body of work. What we caught we threw away, what we didn't catch we kept explores the biography of objects, and makes connections between 19th-century explorer and archaeologist Alfred Maudslay, artist Eduardo Paolozzi and contemporary anthropologist Alfred Gell.

The Musée d’Art moderne de la Ville de Paris is presenting an exhibition devoted to artist Danh Vo, born in Vietnam in 1975. Appearing highly personal at first glance, the work of Danh Vo is in fact powerfully political. Neither direct nor confrontational, his practice explores the power games underlying liberal societies, the rules governing those societies, and the fragility of the nation-state idea. Built around the circulation of values, be they material, economic, symbolic or spiritual, the artist’s oeuvre reveals, too, the complexity of the interchange between peoples in the context of post-colonial society.

ONE TORINO is a major exhibition project curated by eight international curators in the city's main contemporary art institutions and venues. ONE TORINO is the first edition of a new annual initiative, conceived and produced by Artissima and realised in collaboration with museums and foundations of the city. It is aimed at placing Torino at the centre of an important cultural dialogue by consolidating its position as an experimental and dynamic art capital and by promoting both its contemporary and historical identity.

The Scotland + Venice partnership is delighted to announce further details of the 2013 presentation, curated and organised by The Common Guild, Glasgow. The exhibition will feature new work by Corin Sworn, Duncan Campbell, and Hayley Tompkins, as a Collateral Event at the 55th International Art Exhibition – la Biennale di Venezia. Working across a range of media, from watercolour to digital video, Scotland + Venice 2013 will showcase three of the most consistently interesting artists working in Scotland today, all of whom studied at The Glasgow School of Art and have earned growing acclaim and attention in recent years.

SITE Santa Fe announces SITElines, its reimagined biennial exhibition series with a new focus on contemporary art from the Americas. The first edition of SITElines, titled Unsettled Landscapes, will open July 13, 2014 and will be on view through January 2015.  SITElines: New Perspectives on Art of the Americas is a six-year commitment to a series of linked exhibitions with a focus on contemporary art and cultural production of the Americas.  The exhibitions will take place in 2014, 2016, and 2018 and will be organized by a different team of curators, from locations throughout the Western Hemisphere.

Curated by Adam Budak The Centre for Contemporary Art Ujazdowski Castle is proud to present MILENA, MILENA, the first solo exhibition and screening program in Poland of American artist, Sharon Lockhart. Lockhart's filmic and photographic work is a psychological study of communities, individuals, and their everyday, antiheroic activities of life, labor and leisure. Engaged yet markedly without emotion, Lockhart's "documentary theater" captures rare moments of human vulnerability where authenticity and spontaneity are challenged by her own long-term commitment and research as well as a desire to choreograph particular situations and behaviors.

The Tel Aviv Museum of Art, in association with Artis, presents Host & Guest, a platform of nine exhibitions, workshops, and events focused on philosophical, political, literary, architectural, and artistic concerns following from Jacques Derrida's book Of Hospitality, and Immanuel Kant's essay "Perpetual Peace: A Philosophical Sketch." Conceptualized and directed by Steven Henry Madoff, Host & Guest was developed by an international team. Curators Ana Paul Cohen (Brazil), Hou Hanru (France, U.S., China), Jeffrey Schnapp (U.S.), Joshua Simon (Israel), Steven Henry Madoff (U.

Wanås is a place in the world where art, nature and history meet. Since 1987, exhibitions have been produced by Swedish and international contemporary artists. This year, the artists make new works on the lake, around the lake and inside. At Wanås focus is on site-specific installations.

Over the past twenty years, little in the art world has changed as dramatically as private collecting. Rapidly growing private collections around the world have garnered attention as tastemakers, while the reduced financial capacities of public collections have further pushed their private counterparts into the limelight. From politicians to artists, market players to the media, many are wondering what roles private collections will play in the future. POOL explores these questions, theoretically and practically, through discursive and curatorial experimentation.

On the occasion of the 100th anniversary of the Kunstgebäude, where the Württembergischer Kunstverein Stuttgart resides, the 35th anniversary of the Künstlerhaus Stuttgart and the first anniversary of the off-space Lotte, the three institutions open their exhibitions simultaneously, turning their celebration programs into a joint critical triangle.

After Cold Sun, Palais de Tokyo, along with thirty galleries and art spaces throughout Paris, innovates once more to emphasize the emergence of the figure of the curator. At Palais de Tokyo, Nouvelles vagues (New waves) is a large-scale event organized by 21 international young curators (hailing from 13 different countries), working individually or in groups, and selected by a jury from over 500 candidates.

The Ullens Center for Contemporary Art is pleased to present Wang Xingwei, a mid-career survey of the leading Chinese painter. The exhibition will feature a grouping of paintings which highlight Wang's career from 1993 to the present, illustrating both the depth of his painterly talent and the breadth of his explorations over the past two decades. Organized by UCCA Director Philip Tinari in close collaboration with the artist, the exhibition will span the entirety of the UCCA's iconic Great Hall, the first time this space has ever been given over to a solo retrospective devoted strictly to painting.

Artistic Director: Thierry Raspail Novelists and screenwriters always hope they have an interesting story. These days, politicians too and advertisers are all on the look-out for a good story that can be used to influence voters and consumers. Not only are there "countless forms of narrative in the world," as Roland Barthes would have it, but now they are everywhere and an integral part of our daily life.  For the Biennale de Lyon 2013, curator Gunnar B.

SKMU Sørlandets Kunstmuseum is proud to present Yayoi Kusama's multi-media installation Dots Obsession – Love Transformed into Dots (2006).  The work is part of a larger series of installations called Dots Obsession, which Kusama began in the 1990s, at the time when she was experiencing a renaissance of sorts in the international art world. The installation combines several of her most frequently used motifs. Her trademark, the polka dot, spreads across large balloons that hang from the ceiling, lie on the floor and float about the room.

RE-ALIGNED is a thematic project including exhibitions, conferences, artist-in-residencies, workshops and publications co-initiated by Perpetuum Mobilε and Tromsø Kunstforening.  The RE-ALIGNED project looks into conditions, subjectivities and agencies provoking a new alignment of art, thought and politics in the 21st century. Overcoming identity-particularisms and old geopolitical fault lines, contemporary currents exhibit common alignments based on ideals and ideas.

On occasion of the twenty-fifth anniversary of the Generali Foundation, three international curators—Guillaume Désanges, Helmut Draxler, and Gertrud Sandqvist—will each design an exhibition using very different presentation formats to reflect, from their individual vantage points, on the Generali Foundation's collection, institutional and exhibition politics, and hence its contribution to historiography on the basis of institutional work. These different perspectives the curators illuminate, the questions they raise concerning the definitions of what is called conceptual art or—more broadly conceived—conceptualist art and what it means to collect and curate it, and their reflections on the relationship between conceptual as well as historic display strategies and the works of art form the point of departure for the subsequent discussion events and lectures throughout the anniversary year.

The Collection as a Character is a review of the M HKA collection after 25 years of creative contingency: visions articulated by forceful personalities, opportunities presenting themselves, limitations inspiring novel solutions. In other words, this project attempts to portray the character of the collection as it has been shaped by the reality of institutional art collecting for the public domain. M HKA, the Museum of Contemporary Art Antwerp, opened in 1987 with a retrospective of Gordon Matta-Clark, who had realised one of his last 'cutting' interventions, Office Baroque, in Antwerp ten years earlier.

The CAPC's nave is plunged in darkness. A gigantic brass tubular structure straddles the space. Painted skies and retouched portraits hanging on wires are being as if launched into the void. The walls are covered with Brinjal. Tumblers play chess and children's puppets bang the metal tips of their shoes on the floor. A spiral Eiffel stairway links the floor and the ceiling, 45 feet high. Large hangings hide the architecture, a double mirror projection of the film Orient spins in a loop and looks at itself from a huge triangular bench which cuts the nave in four.