Liu Bolin and the art of concealment

See if you can spot artist Liu Bolin, the 'invisible man' who can camouflage himself against any backdrop, in any city, from China to the UK

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Celebrated art of Haiti is buried under rubble

The earthquake that killed so many also demolished the island's galleries and destroyed thousands of paintings

Number 18 Rue Bouvreuil was once a mecca for lovers of Haitian art. Outside the Musee Galerie d'Art Nader, perched on a hillside overlooking Port-au-Prince, a sign greeted visitors. "On top of the town, top in the arts," it boasted. Inside, the walls were plastered with thousands of paintings recording nearly a century of Haitian history.

Now the three-storey art gallery is gone, reduced to a dusty heap of rubble and torn canvases. Broken picture frames from irreplaceable local masterpieces poke from the gallery's ruins.

"My dad has about 12,000 paintings here and we are trying to save what is left," said Georges Nader, the son of Haiti's best-known art collector and the owner of the gallery, as he scanned the debris. "We have only been able to save about 2,000 of them."

The human cost of Haiti's worst earthquake in more than 200 years – at least 150,000 lives lost – has been well documented. But the disaster also struck a knockout blow to the heart of Haiti's vibrant arts community.

Several galleries were destroyed and thousands of paintings lost under the rubble of flattened government buildings and art museums.

The Cathédrale Sainte-Trinité, built in the early 1920s, was almost completely destroyed, taking with it a series of celebrated 1950s murals depicting scenes from the life of Christ. A painting by Guillaume Guillon Lethière, the 18th century French neoclassical painter, is thought to have been destroyed when the presidential palace collapsed.

"There are paintings from 1905 that have been lost," said Cedoir Sainterne, an artist from the city's Pétionville district. "It's terrible. We are going to have to start all over again."

Nowhere was the destruction greater than at the Musee Galerie d'Art Nader, Haiti's largest private collection of Haitian and Caribbean art.

"When it [the earthquake] started I said, 'What the hell is that?' And I ran out," said Nader, whose father, also called Georges, was one of the biggest patrons of the local art scene. "I was in an 11-storey building and I saw the building shaking and shaking and moving in all directions.

"The next day when I came here and I went downtown I saw everything. I don't think there is any word to explain that [what happened] to the world … You have to be here to see what is going on."

Nader's parents, both 79, survived. When the quake struck they were sleeping in the only room of the museum that emerged unscathed.

Stunned, they fled to the neighbouring Dominican Republic, where Nader says his mother suffered a heart attack. They then headed to Miami. "The first day my reaction was that anything material was not that important for me. When you see your dad is safe and your mum is safe I was OK," said Nader.

"But when I came it was very sad. My dad loves Haitian art. He lives for Haitian art. His life is Haitian art. This is a guy that won't buy a house [because] he would prefer to buy Haitian art."

Nader quickly called in some Haitian friends from New York in an attempt to save some of the collection. Several paintings by Hector Hyppolite, Haiti's most revered painter, have already been plucked from the wreckage.

At the Musee Galerie d'Art Nader dozens of men were wading through the rubble. Occasionally they emerged clasping canvases depicting scenes of rural life or voodoo ­ceremonies. Some of the paintings were by Alexandre Gregoire, one of Haiti's first generation of naive artists, whose work has been sold at Sotheby's in New York.

Also among the rubble was an information card from an exhibit by the Haitian artist Adam Leontus. "Leontus has taken part in many national and international exhibitions," it read in black typewriting. Leontus's paintings were nowhere to be seen.

Nader said the museum's losses, estimated at up to $30m (£19m), could not be replaced with any amount of money. "We have lost the biggest collection of Haitian art, not only in Haiti but in the world," he said, clambering down from the roof of what was once his family gallery. "There are pieces that you won't be able to find any more. This is finished."

Amid the destruction and despair, some Haitian artists are seeking inspiration in the disaster. One graffiti artist has taken to daubing a map of Haiti on walls around the city: a weeping eye looks out from Port-au-Prince's location, above the words "We need help".

Artist Frantz Zephirin has painted more than a dozen canvases inspired by the quake, showing distraught faces trapped in ruined buildings and hands reaching up through a sea of blood.

Elise Francisco, an artist who has sold paintings to Nader's father, said it was important artists registered the ­earthquake. "I'll paint the houses that have fallen, the buildings that are destroyed, the cracked land," he said. "We are going to show our children what happened here. This is our history."

Cultural wealth

Haiti may be the poorest country in the western hemisphere, but fans of its art say it is the Caribbean's most culturally wealthy nation.

From the intricately crafted tap-tap buses that clatter through Port-au-Prince to the explosively colourful paintings that once adorned the walls of its many art galleries, it is impossible to miss the creative spirit of the world's first independent black republic.

While there are records of art schools dating back to the early 19th century, Haitian artists only began to gain international recognition in the 1940s, following the creation of Port-au-Prince's Centre d'Art. Dozens of "naive artists", among them voodoo priests and small-time farmers, gathered there to depict Haiti's turbulent history in unmistakably colourful and often surreal paintings and patchworks of "voodoo flags".

The centre's role in promoting Haitian art is disputed. Some say it discovered and nurtured a generation of talented but untrained artists; ­others say it merely helped already skilled artists make contact with overseas buyers, bringing much-needed funds to the local art scene.

Through the centre, Hector Hyppolite, a one-time shoemaker and voodoo priest, became Haiti's most internationally revered artist, leading a generation of local painters whose instantly recognisable canvases featured religious imagery and scenes of the country's life.

More than 60 years after his death, Hyppolite's works fetch six-figure sums while several other Haitian folk artists, including Philome Obin and Wilson Bigaud, have become well-known. The Haitian-American artist Jean-Michel Basquiat, a one-time collaborator of Andy Warhol, often alluded to his Haitian roots in his paintings, which have been sold for millions at auctions.

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Video: Quake-hit Haiti’s lost art

The son of a Haitian art collector describes the steps being taken to recover paintings that survived the earthquake

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Chinese artist’s work removed from Paris gallery in censorship row

Ko Siu Lan's banners satirising Sarkozy slogan deemed 'too explosive' for public exhibition

A British curator has accused France's most prestigious art school of "unambiguous censorship" after a work satirising one of Nicolas Sarkozy's campaign slogans was taken down hours after going on display.

Clare Carolin, a senior tutor at the Royal College of Art in London, who was working on the ill-fated project at the Ecole Nationale Supérieure des Beaux-Arts, condemned the decision to remove the work, which was deemed "too explosive".

An installation of four banners by the Chinese artist Ko Siu Lan on the exterior of the Beaux-Arts building in central Paris featured the words "earn", "less", "work" and "more" as a play on Sarkozy's phrase "Work more to earn more".

The now notorious slogan was used by the president when he ran for election in 2007. In a country reeling from recession, it has since become a symbol of what critics say are his rightwing agenda's failures.

Sources inside the Beaux-Arts indicated that the work had provoked complaints from the ministry of education because of its politically sensitive nature.

"This is unambiguous censorship," said Carolin, who had been working with Ko on the project as part of an exhibition co-organised by the RCA, the Beaux-Arts and Singapore's Lasalle College of the Arts.

Ko, a 32-year-old artist who spent two years in Paris before returning to Beijing where she now lives, said she was shocked and saddened by the ban. "I come from China and we know what to expect there but I would not have expected this kind of brutal censorship in France," she said.

There was no indication that criticism of the work had come from the Elysée palace. A statement from the Beaux-Arts said the work had been removed because its "explicitly political" message could violate "public service neutrality".

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Chinese artist’s work removed from Paris gallery in censorship row

Ko Siu Lan's banners satirising Sarkozy slogan deemed 'too explosive' for public exhibition

A British curator has accused France's most prestigious art school of "unambiguous censorship" after a work satirising one of Nicolas Sarkozy's campaign slogans was taken down hours after going on display.

Clare Carolin, a senior tutor at the Royal College of Art in London, who was working on the ill-fated project at the Ecole Nationale Supérieure des Beaux-Arts, condemned the decision to remove the work, which was deemed "too explosive".

An installation of four banners by the Chinese artist Ko Siu Lan on the exterior of the Beaux-Arts building in central Paris featured the words "earn", "less", "work" and "more" as a play on Sarkozy's phrase "Work more to earn more".

The now notorious slogan was used by the president when he ran for election in 2007. In a country reeling from recession, it has since become a symbol of what critics say are his rightwing agenda's failures.

Sources inside the Beaux-Arts indicated that the work had provoked complaints from the ministry of education because of its politically sensitive nature.

"This is unambiguous censorship," said Carolin, who had been working with Ko on the project as part of an exhibition co-organised by the RCA, the Beaux-Arts and Singapore's Lasalle College of the Arts.

Ko, a 32-year-old artist who spent two years in Paris before returning to Beijing where she now lives, said she was shocked and saddened by the ban. "I come from China and we know what to expect there but I would not have expected this kind of brutal censorship in France," she said.

There was no indication that criticism of the work had come from the Elysée palace. A statement from the Beaux-Arts said the work had been removed because its "explicitly political" message could violate "public service neutrality".

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Folkwang museum unveils Chipperfield redesign

German museum once dubbed the most beautiful in the world set to welcome back artworks banished by the Nazis

On a visit in 1932, Paul J Sachs, the co-founder of New York's Museum of Modern Art, referred to it as "the most beautiful museum in the world", whose influence stretched way beyond German borders. But then one of Europe's first and finest public collections of contemporary art was declared "degenerate" by the Nazis, the Folkwang was brutally broken up and 1,400 of its works – including Chagalls, Picassos, Matisses, Kirchners and Gauguins – were strewn around the world.

This weekend the museum, in the western German city of Essen, will be returned to its former glory as a temple to modern art with the opening of the British architect David Chipperfield's much-vaunted new glass and concrete space.

The building, say critics, exudes calm. One described it as "resembling a meditation centre", another likened it to "snowflakes in a glass skirt", so weightless does it appear from inside and out compared with much of the Ruhr valley's heavy industrial architecture.

Summing up what he thought important about his design, Chipperfield – who beat other celebrated architects including Zaha Hadid and David Adaye to win the commission – said: "You want to lose yourself in it, as well as being able to orientate yourself."

The Folkwang building, a series of cubes whose windows are made out of recycled glass, reinforces London-born Chipperfield's status in Germany as a darling of modern architecture. It comes hot on the heels of his highly ambitious transformation of Berlin's war-torn Neues Museum.

The Folkwang redesign, which to the Germans' delight was completed on schedule and within budget, will come into its own in March with the opening of the exhibition The Most Beautiful Museum in the World. The show will bring together for the first time in more than 70 years the artworks that were stripped from the gallery's walls by the Nazis in 1936.

Among the returning treasures will be works by Oskar Kokoscha, Wassily Kandinsky and Ernst Ludwig Kirchner. Marc Chagall's vibrant Purimfest, a dusky self-portrait by Giorgio di Chirico, Paul Gauguin's Contes Barbares, as well as Grazing Horses by Franz Marc, currently in the Harvard Art Museum, will hang once again in Essen.

The Folkwang collection – the name derives from Hall of Freyja, the Norse goddess of love and beauty – was first established in 1902 by the cultural philanthropist Karl-Ernst Osthaus, whose vision was to anchor modern art in the centre of urban life. The Folkwang model subsequently inspired many art museums around the world.

The €55m reconstruction was made possible by Berthold Beitz, a philanthropist and former steel baron whose name is inextricably linked with the fortunes of industrial Germany and who initiated his Krupp Foundation to finance the project.

The 96-year old, who greatly plays down his little-known role in saving 800 Jews from the Holocaust by convincing the Nazis they were vital to the war effort, said returning the museum to its former status was his gift to the citizens of Essen. "My only wish had been that I'd be alive to see it, and now my dream has been fulfilled," he said.

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Ripped Picasso ‘will be repaired for exhibition’ in New York

New York's Metropolitan Museum of Art says a Picasso painting damaged by a visitor will be repaired in time for its exhibition of his work in April.

The Actor, from Picasso's rose period, now has a 15cm (6in) tear in the canvas's lower right-hand corner after a woman lost her balance and fell on the painting on Friday during an art class.

The restored painting will be displayed as planned in the exhibition of 250 Picasso works drawn from the museum's collection, which will run from 27 April to 1 August. The museum has owned the painting since 1952.

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