Woman with her Throat Cut, 1932. National Galleries of Scotland. © Alberto Giacometti Estate, ACS/DACS, 2017.
Alberto Giacometti’s scrawny figures pulse with kinetic energy. This new retrospective at Tate Modern shows his versatility, celebrating his passion for materials other than the bronzes for which he is famed, giving a greater breadth and depth to the understanding of his work and inspirations
Indian artist Mithu Sen has a quicksilver practice that is difficult to categorise or maintain as a singular narrative. This, she says, is intentional – it is her effort to defy the demands of the market.
In her exhibition Homemaker at the Jack Shainman Gallery in New York, the Philadelphia-based artist presents a group of paintings that reflect on interiors that include objects of personal significance.
The Indian artist explains some of the works on show at this retrospective, and why, despite once working for a technology company, he prefers to stick to painting.
The new works of the often-brilliant Cornelia Parker act as a cautionary tale for artists who rush too hastily into the political.
The German artist recounts the trauma of childhood under the Nazi regime, his autonomy from the social ferment of the 60s, and confronting all the problems of art history through the sustained depiction of a single ordinary object.
The artist talks about his current show at the Nome Gallery, Berlin, which centres around the self-driving car, technological agency and the relationship of humans to machines, and what we can learn from them.
This 35th annual incarnation of Art Brussels was taglined ‘From Discovery to Rediscovery’. Here is a roundup of some of the rising talent that you may have missed.
Two concurrent exhibitions present a selective view of the career of renowned conceptualist John Latham along with work by four contemporary artists that reveals his profound influence today.
The visual artist talks about what art can do in the face of climate change, her films of Arctic Russia and her latest film, shot in Scotland, From Time to Time at Sea.
The artist talks about his latest show, The Gypsy Camp, and his interest in nomadism and displacement, including his own experience of moving as a child from Cuba to Spain and then to the US, and explains his process of working with images from memory.
The artist talks about her recent exhibition, All Whores are Jacobites, and how she became intrigued by the lives of three women whose lives were linked by themes of prostitution, textile work and protest.
Maclean is representing Scotland at the Venice Biennale with her new film, a dark fairytale titled Spite Your Face. She talked to us before the biennale about the film, nationalism, fairytales, and how narratives can be so powerful that audiences prefer the fiction to fact.
The Los Angeles-based interdisciplinary artist and writer talks about her first opera, an adaptation of Mozart’s Magic Flute,and her desire to cross boundaries.
While the similarities between the work of Tracey Emin and William Blake are tenuous, the latest instalment of Tate Liverpool’s In Focus series is interesting for other reasons.
The artist talks about drinking White Russians, his BMX bike, which he has named Susan, taking pictures of tyre marks, and why there is no such thing as a boring photograph.
Lust, sexual desire, sin and guilt are explored in a series of short claymation films supported by a new sculptural installation from the Swedish artist duo.
Nicky Hirst's sculptures and installations quietly and skillfully explore the consonances and dissonances between object, context and materials. Funny, poetic, profound and wistful, the nine pieces – comprising mostly found objects, arranged or crafted in unlikely compositions – in this solo show pack a powerful metaphorical punch.
The artist talks about the works in Drawings and Projects, her current exhibition at House of Illustration in London, curated by Quentin Blake, being a war artist during the Falklands crisis, her inspiration and influences, and her latest work using an iPad.
To mark the 50th anniversary of the partial decriminalisation of sex between men, Tate Britain’s contribution to the plethora of queer exhibitions across the UK is a well-curated, well-balanced, aesthetically compelling tribute to sexualities and genders across the spectrum.
Tony Heywood and Alison Condie’s ode to Hastings attempts to combine psychedelic sculpture with plants, but the jarring mixture of the natural and the artificial fails to capture the essence of this crazy coastal town.
The exhibition captures the ingenuity and playfulness involved in critical perception, with more than 50 artists basing works on historic artworks to form contemporary pictures.
‘We need to have a connection to the place we live in. It’s an extension of ourselves and it’s also a form of communication,’ says Paul, who invites people to join her at The Breeder gallery in Athens to roll clay beads and have a cup of sage tea.
The fair’s extensive list of programmes and projects, including a symposium on Latin American art, performances and films, celebrated diversity by including domesticated ‘others’, but failed to deal with the reality of the world outside the tent.
The biggest week of the year for Berlin’s contemporary art scene saw the opening of dozens of exhibitions. Here are some highlights and impressions.
During her tragically short career, the painter concentrated on two contrasting areas of Scotland, which form the focus of this exhibition.
With Lascaux IV, which contains a state-of-the-art simulation that brings to life the famous Lascaux cave and its Palaeolithic paintings, Norwegian architects Snøhetta and UK design partner Casson Mann have created an uplifting and educational temple to a vanished civilization.
The artist talks about his latest show, Cowboy Town, at Timothy Taylor Gallery in London, the influence of US politics on artists, and why he looks at his work on his phone all night.
The exhibition gives an insight into the development of modernism in Brazil, a country to which it was an extraneous mode of aesthetic language, developed under the influence of a somewhat slowly spreading wave of international modernism.
The artist talks about his academic origins, the delicate equilibrium he seeks between accident and control, the quintessentially Spanish spirit of his painting, and his current exhibition, Paso, at Victoria Miro, London.
Unusually for a landscape artist, Hepher has for 40 years focused almost exclusively on the tower blocks of south London. In this retrospective, his large-scale triptychs evoke an almost elegiac sense of time and place.