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All the World’s Futures: the 56th Venice Biennale
Under the African curator Okwui Enwezor, the 56th Venice Biennale attempts to bring together our disorganized world, reflected in the diversity of works on display, and to embrace our pasts, presents and futures.
Giardini-Arsenale, Venice, until 22 November 2015.
Klaus Staudt: interview
A leading practitioner of concrete-constructivist art for some 50 years, Klaus Staudt was also part of the pan-European New Tendencies movement, composed of distinct voices researching similar concerns in an almost laboratory-like context. Staudt spoke to Studio International at his exhibition, Light and Transcendence, at the Mayor Gallery, London.
Sleepless: The Bed in History and Contemporary Art
This tightly curated and fascinating exhibition brings together nearly 200 pieces featuring beds used in birth, sex, illness and death, from a first-century advert for a brothel in Pompeii to a Tracey Emin four-poster.
21er Haus, Vienna, until 7 June 2015.
Frieze New York 2015
Buzz bubbled to the surface at Frieze New York’s fourth outing, where there were discoveries and delights to be had among the 190-plus galleries, and the attendance was stellar. Meanwhile, Art Miami’s New York debut, which included more than 100 galleries and garnered a mainly young audience, had the self-confidence of a pro.
Fiona Tan
Fiona Tan explores domestic environments through video and installation across two parallel exhibitions. The works displayed show Tan’s desire to archive and document space in an attempt to bring order to a tumultuous contemporary existence.
Fiona Tan: Inventory. Frith Street Gallery, Golden Square, London, until 26 June 2015; Fiona Tan: Ghost Dwellings. Frith Street Gallery, Soho Square, London, until 31 July 2015.
Michal Rovner: ‘I don’t want to tell a story, I’m looking for something underneath the story’
The Israeli artist discusses the work in her current exhibition Panorama, life split between New York and Israel, her use of modern technology to present her work, and how the gap between reality and what the news presents to us is so large.
Michal Rovner: Panorama, Pace London, until 15 June 2015.
Theaster Gates: ‘How do you get people to see things that to them are invisible?’
In his latest exhibition at London’s White Cube Gallery, Artes Mundi prize-winner and social practice artist Theaster Gates assesses the multiple definitions of assembly, from the political and the artistic to the working-class.
Theaster Gates: Freedom of Assembly, White Cube, London, until 5 July 2015.
Gordon Shrigley: Practising artist and electoral candidate for his Campaign party in Hackney South and Shoreditch
An artist who has been concerned with concepts related to the line for more than 20 years, Shrigley explains why he is now working with performance, and what made him enter the fray for the 2015 general election.
Kate Downie and Susan Winton: Drawing on the landscape
Both these painters are engaged in defining their place within the landscape. From the Forth Bridge to the Parramatta River north of Sydney, from Shetland to the Spanish coast, these two women draw on their Scottish home base and their travels for inspiration.
The New Whitney
As the Whitney opens its doors for the first time at its new building, it is clear that architect Renzo Piano has not disappointed – the museum’s footprint is palatial, its presence majestic. And with most of its collection left offstage for future exhibitions, the inaugural show, America is Hard to See, is but a teaser.
Andrew Hewish: ‘I founded C4RD on the smell of an oil rag’
We asked Andrew Hewish to outline the thinking behind this space for drawing, and to tell us about some of the exhibitions and events that have taken place there over the past 10 years. Will Peck and Gordon Shrigley talk to us about how they negotiated this shared creative space, and we visited Hewish’s studio and talked to him about the different processes he employs, and the thinking behind his creative practice.
Louise Cattrell: ‘I think you can use your memory to create that 360-degree panorama’
Landscape artist Louise Cattrell shares her secrets for bringing the viewer into the landscape and explains the magic of being presented with a blank white canvas.
Louise Cattrell: Another Place. 71 Blandford Street, London, until 16 May 2015.
The Two Roberts: Robert Colquhoun and Robert MacBryde
‘The two Roberts’, as they were known, became a sensation, feted by London galleries, but then they faded from prominence and both died early. The thrill of this exhibition is that it brings their legacy back to life.
Scottish National Gallery of Modern Art, Edinburgh, until 24 May 2015.
Watch This! Revelations in Media Art
Interactive and sound art installations, sculptures and animations, experimental film and video art pieces, and video games celebrate the creative exchange between art and technology that pushes the boundaries of both.
Smithsonian American Art Museum, Washington DC, until 7 September 2015.
Shannon Yee: ‘It’s one step better than walking in somebody else’s shoes’
After a life-threatening brain infection, artist Shannon Yee found herself in hospital paralysed down one side and with part of her skull removed. She explains that her latest work, Reassembled, Slightly Askew, is an attempt to make sense of her experience.
Christopher Williams: The Production Line of Happiness
American photographer Christopher Williams uses his first UK retrospective to illustrate how comfortable we have made ourselves in a synthetic, commercial world.
Whitechapel Gallery, London, until 21 June 2015.
I’m Here But You’ve Gone
A number of artists have each spent 10 months researching fragrances before devising one of their own. It is an interesting idea, but it also raises the question of copyright law and whether perfume can be considered art.
Ahmet Öğüt: Happy Together: Collaborators Collaborating
Directing a chatshow featuring a host of friends and former collaborators, Kurdish artist Ahmet Öğüt reminds us of the one thing about contemporary art that people forget: it’s supposed to be fun.
Chisenhale Gallery, London, until 31 May 2015.
Roxana Halls: ‘I often equate painting with performance’
The artist talks about her new show, Unknown Women, in which she explores concealment of identity, the different ways in which she creates a painting, and how she loves to mix and match things.
Modigliani: A Unique Artistic Voice
This exhibition of Modigliani, who died tragically young, focuses on his works on paper, and shows how, drawing on classical tradition as well as the contemporary art of the time, his distinctive style evolved.
Estorick Collection of Modern Italian Art, London, until 15 April – 28 June 2015.
Sanya Kantarovsky: Apricot Juice
Russian artist Sanya Kantarovsky has based this exhibition on Mikhail Bulgakov’s satirical novel The Master and Margarita. Exploring the story on canvas with oil, pastel, watercolour and oil stick, he translates the author’s words into art.
Studio Voltaire, London, until 7 June 2015.
SP-Arte: The São Paulo International Art Fair 2015
SP-Arte 2015 hosted work from more than 140 galleries and 170 countries. The glittering opening had its moments and the solo exhibitions and performance events were memorable. But if only the organisers had been bolder.

Anna McNay: Penny Slinger's works were long lost to the UK but now she is back @Riflemaker_Soho & @PhotoLondonOrg. @annamcnay spoke to her: http://www.studiointernational.com/index.php/penny-slinger-interview-being-different-is-just-who-you-are-tantra-nik-douglas

Nicola Homer: Lawrence Lek has won the Converse x Dazed Emerging Artists Award. His work is on show at the Royal Academy from 18 April until 17 May.

Nicola Homer: A major UK retrospective of Sonia Delaunay’s vibrant work is now at Tate Modern after its exhibition in Paris, reviewed here: http://www.studiointernational.com/index.php/sonia-delaunay-les-couleurs-de-l-abstraction-review

Cindi Di Marzo: Wild Garden: Outsider Art in Iran opens 22 April, Galerie Hamer, Amsterdam, compares "weeds" in nature and art http://bit.ly/11Haf0H

Cindi Di Marzo: Maker and Muse displays 250 pieces of art jewellery made by women in the early 20th century, Driehaus Museum, Chicago, http://bit.ly/1uLEvDe

Cindi Di Marzo: Frida Kahlo Art, Garden, Life, NY Botanical Garden, recreates her Casa Azul studio/garden, with a display of paintings http://bit.ly/14MQbeY

Cindi Di Marzo: In Effie Gray, Dakota Fanning's insightful portrait reveals Gray's brave defiance of husband John Ruskin's cruelty: http://bit.ly/1GhPxXD

Cindi Di Marzo: Becoming Another: The Power of Masks, Rubin Museum NYC, explores spiritual and ritual uses of masks across times and cultures @RubinMuseum

Anna McNay: Happy 70th Birthday to Anselm Kiefer! Revisit his @royalacademy show here: http://www.studiointernational.com/index.php/anselm-kiefer-retrospective-royal-academy-of-arts-london

Anna McNay: Maggi Hambling's War Requiem & Aftermath opens tomorrow @CultInstKings http://www.studiointernational.com/index.php/maggi-hambling-walls-of-water-review-interview-national-gallery-scallop

Cindi Di Marzo

Cindi Di Marzo, 1963-2015.


It is with great sadness that we announce the death of Cindi Di Marzo, aged 52. Cindi contributed beautifully written, insightful reviews and interviews to Studio International for many years. She was a much loved colleague and friend, and her enthusiasm and consummate professionalism were an inspiration to all. She will be dearly missed by all at Studio.
She once told me: "Enjoy life, life is short." Cindi, your life was indeed too short. Our thoughts and prayers are with her family at this sad time.
Cindi Di Marzo left us on Saturday April 25, 2015.
Miguel Benavides

The Drawn Word: ‘Even if I write my name I am drawing’

The Drawn Word. Published by Studio International and the Studio Trust, 2014. Cover image: Will McLean. “All writing is drawing/ Method of Investigations”.


This publication focuses on explaining the relationship between writing and drawing; the ideas raised at the symposium are expanded and clarified, with the inclusion of artists’ and academics’ contributions from sources as diverse as Oxford professor emeritus Martin Kemp – who has written on the Leicester Codex by Leonardo da Vinci and Professor Asa Briggs (a leading British historian and a key code-breaker at Bletchley Park during the second world war) – who discusses, “Drawing as Code”.

The Drawn Word is the product of a research project funded by an Arts and Humanities Research Council networking grant that explored the relationship between writing, drawing and literacy. As such it is a collaborative publication between Studio International, the University of the Arts London (UAL) and the Royal Melbourne Institute of Technology University (RMIT).

Editors: Professor Stephen Farthing RA and Dr Janet McKenzie
Publisher: Studio International and the Studio Trust, New York and London, 2014.
Content: 128 pages, full colour.
Language: English.
ISBN: 9780983259954 (Softcover).
Dimensions: 280 x 115 x 11 mm (11.0 x 8.7 x 7/16 in).
Price: UK £20, US $30, A $40.

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