In recent years the art world has seen a huge rise in the number of “immersive exhibitions” popping up around Europe – bringing to life the work of some of the world’s most celebrated artists in large spaces with huge light installations.

We’ve seen this with the likes of Van Gogh, Tim Burton, Michelangelo and Leonardo Da Vinci.

And it doesn’t seem like that trend is going away anytime soon, as Madrid has unveiled a new show dedicated to the prolific and revolutionary Spanish artist Pablo Picasso.

The exhibition titled Imagine Picasso is being hosted at the IFEMA MADRID and it’s the largest immersive exhibition ever carried out in Spain, and the first dedicated to Picasso.

More than 200 of Picasso’s most famous paintings, including Guernica and Les Demoiselles d’Avignon, are being projected on the walls, the floor and some gigantic polyhedral structures inspired by the origami pieces that Picasso made for his children.

This artistic experience was created by Annabelle Mauger, pioneer of immersive art, and Rudy Ricciotti, winner of the Grand Prix National d’architecture, and was inspired by Picasso’s tender gaze on childhood.

The projections are accompanied by music from some of Picasso’s greatest contemporary composers, including Debussy, Satie and Ravel, as well as traditional French children’s songs.

Aside from admiring the stunning painting projections, visitors can learn about the different periods and themes of Picasso, such his early work, the Blue Period, the Rose Period, the African Period, Cubism, Neoclassicism, Surrealism, as well as his later work.

Mauger has described Imagine Picasso as “the impossible exhibition”, since the use of digital technology makes it possible to bring together in the same space, albeit virtually, works found in different museums around the world.

London arts organizations will be affected by budget cuts amid a new move by the U.K. government to redistribute funding to regions outside the British capita.

Annual funding for the 2023–26 period will see organizations like Camden Arts Centre, the Crafts Council, the ICA, and the Serpentine Galleries lose funding in amounts between £100,000 and £500,000 ($115,000 and $576,000).

Funding for minority-led organizations, like the Jewish Museum, will be maintained under the new plans.

The cuts were initially proposed by the previous U.K. culture minister, Nadine Dorries, who issued the plan to redistribute funding outside of London to aid underfunded regional organizations. Dorries’s plan outlined reallocating £32 million ($36.8 million) of funding out of London and earmarking an additional £43.5 million ($50 million) to support arts groups in suburban regions that have been historically underfunded. A total of 276 organizations will be given Arts Council funding for the first time under the new plan.

At a press conference announcing the funding plan, Nicholas Serota, the chair of Arts Council England, a government-run body that oversees arts funding, said, “We’ve just simply had to make some invidious choices about where we fund the most.”

In a statement, London Mayor Sadiq Khan, said the cuts would exacerbate an already dire situation facing the arts sector. Khan said the move would be “detrimental” and “devastating” amid “spiraling operating costs, soaring energy bills, and the impact of both the pandemic and the cost of living crisis on audience figures.”

Detractors of the move have pointed to London’s status as a major economic hub that provides a substantial number of jobs to creative workers in the city.

The government has allocated a total annual package of £446 million ($513 million) to fund around 990 cultural organizations, including 82 museums and 159 art nonprofits. London remains the most funded region, receiving a total of £152 million ($175,000), or around a third of the total funds.

The first comprehensive online catalogue listing looted artworks from the Kingdom of Benin is now live, with the potential to profoundly impact the restitution of such items from institutions worldwide.

The database, called Digital Benin, identifies the location of more than 5,000 African artifacts that have become flash points in the debate over whether Western cultural institutions should return cultural heritage taken during periods of colonization.

The Benin Bronzes are a group of thousands of historic objects that were taken from the Royal Palace of Benin, in what is now Nigeria, during a violent 1897 expedition by British troops.

Digital Benin currently identifies 131 institutions across 20 countries with Benin cultural heritage in their collections. Entries include provenance details provided by participating institutions, high-resolution images, and the title of the work in the English and Edo languages. Visitors to the website can also access a collection of oral histories narrated by Benin artists and elders that expand on the significance of the artworks to local art and culture.

The website also includes a disclaimer that says “it is important to underline that the quality of provenance data provided by museums varies considerably from one institution and from one object to another. The number of objects associated with these names is thus merely an indication of what has been documented by museums and not of the actual number of objects related to or indeed looted by them.”

The initiative is led by Barbara Plankensteiner, director of the Museum am Rothenbaum Kulturen und Künste der Welt (MARKK) in Hamburg and funded by the Ernst von Siemens Art Foundation in Munich. Digital Benin’s 14-person project team, which includes experts based in Nigeria, Kenya, and the U.S., conducted scientific outreach with museums across the globe for some two years before the launch. Among the participating museums are Metropolitan Museum of Art in New York, the Cleveland Museum of Art in the U.S., the Ethnological Museum of Berlin, the National Gallery of Australia, the Benin City National Museum, and the Royal Ontario Museum.

The Benin Bronzes have faced calls for their return, both within Nigeria and outside it, for decades, however only in recent years have substantial repatriations been made. In the past two years, the Glasgow Museums, the Smithsonian, and the Metropolitan Museum of Art have either returned Benin works in their collections or begun the process of deaccessioning looted bronze holdings. This summer, the German government signed an agreement transferring ownership of more than 1,100 bronzes to Nigeria.

Germany will also contribute to the construction of the Edo Museum of West African Art. The new museum is being designed by architect David Adjaye and is currently set to open in 2025 in Benin City. It is expected to host the most comprehensive collection of Benin Bronzes to date.