This explosive exhibition connects the dots between art produced around the world during the 1960s and 1970s, showing how different cultures and countries responded to the movement. The exhibition reveals how pop was never just a celebration of western consumer culture, but was often a subversive international language of protest – a language that is more relevant today than ever.

Politics, the body, domestic revolution, consumption, public protest, and folk – all are explored and laid bare in eye-popping Technicolor and across many media, from canvas to car bonnets and pinball machines.

IN INFINITY is a presentation of Yayoi Kusama’s works from more than six decades and features a variety of the many artistic media in which she has worked: from visual art to performance, film, literature and design. A special feature of this exhibition is the involvement of Kusama’s work with fashion and design including the artist’s earliest, unique fashion design from the 1960s. In addition to this the exhibition displays a selection of Kusama’s youth works from Japan, which has never been exhibited before.

This exhibition presents a panorama of photographic art made between 1970 and 2010 from the Deutsche Bank Collection. The show features some 40 artists (and a total of approx. 60 works) who are active within their respective cultural and social milieus. The artists are from Germany, Asia, Africa, the Middle East, and Eastern Europe.Through their works, the show hopes to cast a spotlight on contemporary photographic expression as it exists within the ever accelerating wave of globalization.

In the video installation and book A Man, A Village, A Museum, the Chinese artist Li Mu brings the inhabitants of Qiuzhuang, his hometown, in contact with modernist artworks from the collection of the Van Abbemuseum in Eindhoven.A Man, A Village, A Museum has been acquired by the Van Abbemuseum and is on show as part of the collection exhibition The Collection Now.

This exhibition of more than 100 gold objects focuses on the wealth of the golden age of Butuan (pronounced boot’ wan), a polity on the southern Philippine island of Mindanao that rose to commercial prominence in the tenth century and declined in the thirteenth century.

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As an immigrant from Seoul who was raised in America, Shin views the celadon fragments as a metaphor of the Korean diaspora, vibrant artifacts of the Korean people, their history and culture that are scattered all over the world to form new identities elsewhere.

The Biennale is now 120 years old, and year after year it moves forward and builds on its own history, everything here is exhibited against the backdrop of the Biennale’s 120-year history. Fragments of the past of various kinds may be found in every corner, given also the fact that the Biennale is active in Art, Architecture, Dance, Theatre, Music, and Cinema.

Healing Wars is a multisensory experience that blends dance, storytelling and multimedia in an exploration of how soldiers and healers cope with the physical and psychological wounds of war.

Sutthirat Supaparinya is participating in a female artists group exhibition with 2 video installation, When Need Move the earth and Dotscape.