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Yun-Fei Ji: ‘I’m pessimistic about China’

He may use scrolls and work in ink in the millennial-old tradition of Chinese landscape painting, but his themes are contemporary – the environmental destruction caused by vast infrastructure projects in his native country and the forced relocation of its inhabitants

Yun-Fei Ji. The Vendors and the Wind, 2014 (detail). Collection of the Ruth and Elmer Wellin Museum of Art.
Jeff Koons. Titi, 2004-2009. Mirror-polished stainless steel with transparent colour coating, 37 7/8 x 23 13/16 x 14 7/8 in (96.2 x 60.5 x 37.8 cm). © Jeff Koons.
For the second exhibition at his gallery in Vauxhall, Damien Hirst presents more than 30 works by Koons, some of which have never before been shown in the UK.
Wolfgang Tillmans. The State We’re In, A, 2015. Unframed inkjet print, 273 x 410 cm. © Wolfgang Tillmans, courtesy Maureen Paley, London.
What is lost is lost forever, says Tillmans in this politically charged exhibition, which includes posters imploring British voters to stay in Europe. With the show straddling the date of the UK’s referendum on 23 June, it will be interesting to see what viewers make of it.
Almuth Tebbenhoff. Photograph: Kevin Sharp.
The sculptor talks about the perpetual puzzle of the cosmos and its vastness, eternity and the meaning of life – all themes running through her work, no matter what its scale.
Anthony McCall. Circulation Figures, 1972/2011. Installation view, Serralves Foundation, Portugal, 2011.
The artist, a key figure in the avant-garde London Film-makers’ Co-operative in the 1970s, discusses his current exhibition at a 15th-century gothic palace in Barcelona.
Alberto Korda. Miliciana, La Habana, c1962. 150 x 100 cm.
Artists are the plutocrats in Cuba and, with trade embargos with the US likely to be lifted soon, storied collectors and celebrities are already scouting around for their works.
Cory Arcangel, Lisson Gallery, London, 19 May 2016. Photograph: Martin Kennedy.
The Brooklyn-based artist talks about his latest show at the Lisson Gallery in London, billed as ‘a technological exploration of obsession and obsolescence’.
William Henry Fox Talbot. William Henry Fox Talbot and Nicolaas Henneman at the Reading establishment, 1846. © National Media Museum, Bradford / Science & Society Picture Library.
This exhibition tells the story of the birth of photography, exploring the vision of the Victorian inventor William Henry Fox Talbot, alongside those of his contemporaries in France, such as painter and set designer Louis-Jacques-Mandé Daguerre.
Elizabeth Price at her south-east London studio, 4 May 2016. Photograph: Martin Kennedy.
Studio International visited the artist in her studio in south-east London to talk to her about her work A Restoration, made for the Ashmolean Museum in Oxford.
David Claerbout. Black Elvis, 2015. Washed ink, felt pen and pencil on paper, 18 1/8 x 24 in (46 x 61 cm). © David Claerbout. Courtesy of the artist and Sean Kelly.
The artist talks about duration, place and history in his practice, and how he sees his way of working as archaeological research rather than a production process.
Martine Syms. Photograph: Christopher Horne.
The Los Angeles-based artist talks about semiotics, funkadelic Afrofuturism, and how to create a 90-minute feature-length film out of 180 30-second clips.
Manolo Valdes. © Enrique Palacio, courtesy Marlborough Fine Art, London.
Like a magpie, taking fragments from works of art that he loves and reinterpreting them in new paintings on burlap or as sculptures, Valdés is always on the look out for inspiration. He explains how his entire world is seen through the lens of art history.
Harland Miller. Back On The Worry Beads, 2016, Oil on canvas, 276 x 183 cm. Courtesy the artist and Blain Southern. Photograph: Peter Mallet.
The writer and artist discusses Berlin, Bowie and alter egos, his show with Blain Southern, and why he won’t use 10 words when 20 will do.
Bhupen Khakhar. You Can’t Please All, 1981. Oil paint on canvas, 175.6 x 175.6 cm. Tate © Bhupen Khakhar.
Whether depicting the pathos of everyday tradesmen, the union of same-sex lovers, or the embattled duality of a body riddled with cancer, the Indian artist’s wry humour combines with his vibrant palette to create compelling narrative paintings that speak to viewers across the globe.
Guillermo Kuitca. Untitled, 2003 – 2015. Oil on canvas, 196.5 x 196.3 cm (77 3/8 x 77 1/4 in). Image © Guillermo Kuitca. Courtesy the artist and Hauser & Wirth. Photograph: Alex Delfanne.
In this bold collection of paintings, the Argentinian artist demonstrates his “cubistoid” style, creating abstract worlds informed by geometric rigour, into which he intersperses more figurative details.
Maria Lassnig in her studio in New York, 1972. © Maria Lassnig Foundation.
Concerned with the fundamental problem of the location of the body, both on canvas and in the world, the Austrian artist’s self-portraits span genre and interrogate the notion of self-representation and the limitations of painting.
Stele of Thonis-Heracleion, Thonis-Heracleion, Aboukir Bay, Egypt (SCA 277). © Franck Goddio/Hilti Foundation. Photograph: Christoph Gerigk.
Ongoing excavations of two rediscovered cities have shone light on a rich era in Egyptian history, and form the backbone of a fascinating exhibition.
Katie Paterson, Christoph Zeller and Ingrid Moye. Photograph: Max McClure.
With her largest UK show to date currently on at the Lowry, the artist talks about the relationship with heavenly bodies and the wider cosmos, her graveyard of stars and sending her work into space.
Stephen Prina, galesburg illinois+ (installation view), Petzel Gallery, 2016. Courtesy of the artist and Petzel, New York.
The post-conceptual artist talks about his hometown, studying with John Baldessari at California Institute of the Arts, and a missed encounter with John Cage.
Ryan Sullivan. Untitled, 2016. Urethane plastic and pigment, 182.5 x 212.5 x 5 cm (71 ¾ x 83 ⅝ x 2 in). Courtesy Sadie Coles HQ.
For his second exhibition at Sadie Coles, the young American artist eschews canvas and paper, drawing attention instead to the material properties of paint, and producing a dazzling feast of vibrant colour and captured movement.
William Heath Robinson. Playing on Pipes of Corn and versing Love, 1914 (detail). Photograph: © Royal Academy of Arts, London.
With a wit all of his own Heath Robinson captured everything from the sublime to the ridiculous, and in doing so became one of the most versatile illustrators of the 20th century.
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