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Lucas Arruda: ‘The only reason to call my works landscapes is cultural’

On the occasion of his first London exhibition, at David Zwirner, Lucas Arruda discusses his almost pathological pursuit of a particular theme, revealing the macro within the micro, and how his imaginary landscapes are states of mind suspended in paint

José Pedro Croft talking to Studio International at the opening of Uncertain Measure at the Portuguese Pavilion, Villa Hériot, Giudecca, Venice 2017. Photograph: Martin Kennedy.
For his Portugal Venice Biennale commission, artist José Pedro Croft has made a series of six glass-and-steel sculptures that lurch and loom around the gardens of Villa Hériot, on the Giudecca. He talks about the uniquely Venetian dialogue between precariousness and permanence, as well as the monumentality and simplicity of a nearby Álvaro Siza project, both of which have inspired his project, Uncertain Measure.
Shilpa Gupta. Untitled, 2001. Instruction manual in vitrine, cloth pieces stained with menstrual blood, two videos on monitors. Video II: Three pyjamas hanging in the sun to dry, 3:00 mins loop.
The Mumbai-based artist Shilpa Gupta talks about her practice, notions of identity and nation states, and how she prefers her work to be called ‘everyday art’ rather than terming it political.
Emily Peasgood talking to Studio International at the Folkestone Triennial 2017. Photograph: Martin Kennedy.
Emily Peasgood’s sound piece Halfway to Heaven is set in a Baptist graveyard, a high hump of soil, weeds and tumbling headstones wedged between a road and a terrace of houses. Studio International talked to her about its inspiration and meaning.
Gerfried Stocker, Artistic Director Ars Electronica. Photograph: Ars Electronica / Robert Bauernhansl.
Gerfried Stocker talks about going from being a media artist influenced by Ars Electronica to becoming its artistic director and the mind behind its organisation.
Studio photograph of the artist with Profile in Exile Version 2, 2003. Chinagraph, silver oxide and pastel. Collection of the artist. Photograph: Julian Di Stefano.
Bradbeer talks about his technique, why he works on a large scale and what drawing means to him – and reveals his secret to engaging cynical students.
Johannes Vermeer. Woman Holding a Balance, c1664. Oil on canvas, 39.7 x 35.5 cm (15 5/8 x 14 in). National Gallery of Art, Washington, Widener Collection.
The organisers of this exhibition are keen to show how the Dutch genre painters both drew inspiration from one another and were spurred on by rivalry, but this intention is undercut by the paintings of Vermeer. The others painted for their time while he painted for all time.
David Octavius Hill and Robert Adamson. David Octavius Hill, 1802–1870. Artist and pioneer photographer, 1843–1847. Calotype print, 21.30 x 15.30 cm. Scottish National Portrait Gallery.
A celebration of collaboration, friendship and innovative spirit, A Perfect Chemistry illuminates the groundbreaking photography produced by David Hill and Robert Adamson in early-19th century Scotland, and the touching story surrounding its production.
Hannah Quinlan and Rosie Hastings. UK Gay Bar Directory, 2016, film still. © the artists.
The collaborative duo talk about their film UK Gay Bar Directory, which is showing at the Walker Art Gallery in Liverpool as part of its exhibition Coming Out: Sexuality, Gender and Identity.
Julian Lethbridge. Boreas, 2017. Oil, pigment stick, on linen, 132 x 106.5 cm (52 x 42 in). Courtesy the artist and Contemporary Fine Arts. Photograph: Matthias Kolb.
The 13 new paintings by Julian Lethbridge, now on show in Berlin, are works of virtuosity and dedication, and provide a captivating and absorbing demonstration of a painter exploring his unique approach to the fullest.
Harold Cohen talking to Studio International in his home studio, Encinitas, California, May 2015.
Pioneer of computer art Harold Cohen died last year at the age of 87. In 2015, in one of the last interviews of his life, he talked to Studio International about his long career.
Bethlem Gallery, with cardboard sculpture by Mr X in the foreground, 1 September 2017. Photograph: Ed Watts, courtesy Bethlem Gallery.
In the grounds of the UK’s first hospital to treat people with mental illness, lie a fascinating museum and gallery. To celebrate its 20th anniversary, the Bethlem Gallery is holding an exhibition of work by those, including Grayson Perry, who have been touched by mental illness.
Lubaina Himid. Jelly Mould Pavilions Project, Folkestone Triennial, 2017. Photograph: Martin Kennedy.
The fourth triennial outing for this slowly regenerating UK seaside town sees curator Lewis Biggs invite a multicultural cast of artists, architects and activists to bring their sonic, sculptural, performative and visual talents to bear in revealing new perspectives on Folkestone, its identity and its potential. Studio International talked to some of the artists and organisers involved.
Ben Allen talking to Studio International at the Folkestone Triennial 2017. Photograph: Martin Kennedy.
On the first floor cafe/bar of Folkestone’s Quarterhouse, a performance venue for music, theatre, dance and comedy, architect Ben Allen has created an ornate gothic pavilion as a “visitor centre” for the triennial. The Clearing was inspired by a request from the curatorial team for an immersive work. Studio International asked Allen where the idea for this structure came from and what it is trying to express.
Daniel Richter. Amsterdam, 2001. Oil on canvas, 225 x 147 cm. Private collection, Lütjenburg.
German painter Daniel Richter’s first UK solo show reveals uncomfortable truths about human expression, voyeurism and isolation.
Breathing Colour by Hella Jongerius, Design Museum, London 2017. Installation view. Photograph: Luke Hayes.
This brilliant show from Dutch industrial designer Jongerius aims to ‘tickle the eyes of the viewer’, exploring how colour behaves and is affected by shape, texture and light.
Maryam Najd talking to Studio International in her Antwerp studio, 6 July 2017. Photograph: Martin Kennedy.
Iranian-born artist Maryam Najd talks about identity and culture in her practice, her love of materials and her Non Existence Flag Project, which was due to be exhibited in Beijing this autumn, until the Chinese Ministry of Education banned the show claiming the exhibition posed ‘an unpredictable political risk’.
Sol Calero.
Beneath the colourful painted surfaces of Sol Calero’s immersive installations, there are deeper, politically informed concepts for those who take the time to unpick the layers.
Director and CEO Julián Zugazagoitia. Photograph: John Lamberton. Courtesy The Nelson-Atkins Museum of Art.
Since 2010, when Zugazagoitia joined the Nelson-Atkins Museum of Art, visitor numbers have soared. Now, having received a gift that has almost doubled the size of the museum’s former collection of impressionist and post-impressionist paintings, and a major renovation, he is keen to entice yet more people to view its treasures.
Hans Hansen. Untitled (Plant models), 2007. © Hans Hansen.
This survey of six decades of the work of German photographer Hans Hansen, perhaps best known for his photographs of a dismantled Volkswagen Beetle and later a Golf, revels in his eye for surface texture, purity of form and iconographic composition.
Hélio Oiticica (1937–1980), installation view of Eden (1969) at Whitechapel Gallery, London, 1969. Sand, crushed bricks, dry leaves, water, cushions, foam flakes, books, magazines, Dzpulp fiction, dz straw, matting, and incense, 68 ft. 10 3/4 in. ×  49 ft. 2 1/2 in. ×  11 ft. 5 3/4 in. (21 ×  15 ×  3.5 m). Collection of César and Claudio Oiticica. © César and Claudio Oiticica.
This inspiring retrospective at the Whitney captures the sensuous resonance of Brazilian artist Hélio Oiticica’s work, allowing visitors to immerse themselves in the life-affirming spirit of his oeuvre.
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