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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
Mithu Sen.
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.
Becky Suss. Bathroom (Ming Green), 2016. Oil on canvas, 84 x 60 in. Courtesy Jack Shainman Gallery.
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.
NS Harsha, portrait.
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.
Cornelia Parker. News at Seven (Chilling), 2017. News headlines drawn by 7-year-olds, blackboard, 116.5 x 156.5 x 6 cm (framed). Courtesy of Frith Street Gallery.
The new works of the often-brilliant Cornelia Parker act as a cautionary tale for artists who rush too hastily into the political.
Peter Dreher. Tag um Tag guter Tag (Day by Day good Day) Nr. 1176 (Day), 1997.
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.
James Bridle. Untitled (Autonomous Trap 001), 2017. Ditone archival pigment print 150 x 200 cm. Edition of 3.
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.
Art Brussels, 21–23 April 2017, Tour and Taxis. Photograph: David Plas.
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.
John Latham. Painting with Tennis Ball Marks, 1970. Installation view, Serpentine Gallery, London (1 March 2017 – 21 May 2017). Photograph © Luke Hayes.
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.
Ruth Maclennan. Call of North, 2013-15. HD video, with sound, 22'. Language: Russian with English subtitles.
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.
Enrique Martínez Celaya.
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.
Georgia Horgan. All Whores are Jacobites, installation view, 2017. Photograph: Ollie Hammick.
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.
Rachel Maclean talks to Studio International about representing Scotland at the Venice Biennale with her new film, a dark fairytale titled Spite Your Face. Photograph: Martin Kennedy.
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.
Frances Stark. Still image from The making of The Magic Flute, 2017.
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.
Tracey Emin. My Bed, 1998. Box frame, mattress, linens, pillows and various objects, overall display dimensions variable. Lent by The Duerckheim Collection 2015. © Tracey Emin. All rights reserved, DACS 2016.
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.
Oliver Griffin. Demonstrations of Patterns in Flow OG0157, 2016. © the artist, courtesy Hannah Barry Gallery.
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.
Nathalie Djurberg & Hans Berg. Delights of an Undirected Mind, 2016 (still). © Nathalie Djurberg & Hans Berg. Courtesy Lisson Gallery.
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. Into The Woods, 2010-2017. An assortment of placards, found objects on sticks, left to right: Translation (2010), Nocturne (2010), Flail (2011), Spindles (2017), Standard (2010), Halo (2011), Aperture (2016), Frill (2015). Courtesy the artist and Domobaal. Photograph: Andy Keate.
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.
Linda Kitson. Argentinian Pucarás at Stanley airstrip in 1982. © Linda Kitson.
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.
Hannah Gluckstein. Gluck, 1942. Oil on canvas, 30.6 x 25.4 cm. © National Portrait Gallery.
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. Head Land in situ at Jerwood Gallery, Hastings, 2017. Photograph: Emily Spicer.
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.
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