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Ed Atkins. Warm, Warm, Warm Spring Mouths, 2013. Courtesy of the artist; Cabinet, London; Gavin Brown’s enterprise, New York; Isabella Bortolozzi Galerie, Berlin.
Nine contemporary artists ask what has become of reality and physicality in the age of the virtual – and imagine human existence in a digital future
Ross Birrell. Criollo, 2017. Film still. Image credit: John Engstrom. Courtesy the artist and Ellen de Bruijne Projects.
Ross Birrell talks horses, endurance and taking risks in relation to two works for Documenta, his film Criolla and The Athens-Kassel Ride: The Transit of Hermes, a procession of horses and riders on a 1,850-mile journey, which he describes as a ‘mobile human-equine ensemble’.
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.
Portrait of Lucas Arruda. Courtesy Mendes Wood DM, São Paulo/Brussels and David Zwirner, London.
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.
The Inverted Portal (2016) by Ensamble Studio (Antón García-Abril and Débora Mesa) at Tippet Rise. Image courtesy of Tippet Rise Art Center/Iwan Baan. Photograph: Iwan Baan.
Cathy and Peter Halstead talk about Tippet Rise Art Center, the remarkable music venue and sculpture park they set up on a vast ranch in the wilds of Montana, and their desire to create a place with the potential for a deep relationship with art, music and the land.
Jonathan Wright talking to Studio International at the Folkestone Triennial 2017. Photograph: Martin Kennedy.
Local artist Jonathan Wright delved deep into local narratives to devise his tribute to the local fishing community, Fleet on Foot. Studio International discusses the origins of this celebration of the town's remaining fishing fleet.
Gustav Klimt. Sitzender weiblicher Halbakt, 1904. Leopold Museum, Vienna. Reproduced in: Die Hetärengespräche des Lukian.
Bringing together works by Gustav Klimt with pottery, sculptures and texts from late classical antiquity, this insightful exhibition charts the influence of the ancient Attic artists on the Austrian secessionist, in particular in providing material for the development of his erotic drawings.
You’re Surrounded By Me, 2017. Installation view at Turf Projects, Croydon. Image courtesy of Tim Bowditch.
Curator and artist Chris Alton talks about his latest venture, You’re Surrounded By Me, which weaves together contemporary issues such as climate change, protest and the subversion of heraldry.
Horse and man. Drawing. Reconstruction of Scythian horseman based on the excavated finds from Olon-Kurin-Gol 10, Altai mountains, Mongolia. By D. V. Pozdnjakov, Institute for Archaeology and Ethnography of the Siberian Department of the Russian Academy of Sciences.
The Scythians are coming to the British Museum this autumn and we have more in common with these ancient nomads than you might imagine, as curator St John Simpson explains.
Sir Lawrence Alma-Tadema. The Roses of Heliogabalus, 1888. Oil on canvas, 132.7 x 214.4 cm. © Perez Simon Collection.
A capacious retrospective of the long-neglected Victorian academician uncovers a master of the sensuous with a surprising knack for experimentation.
Santiago Sierra. Impenetrable Structure, 2017. Installation view, Lisson Gallery London, July 2017. Photograph: Jack Hems. © Santiago Sierra; Courtesy Lisson Gallery.
The controversial Spanish artist returns to London with a new site-specific installation that continues his interest in borders and displacement.
Simon Patterson talking to Studio International at De La Warr Pavilion, 18 July 2017. Photograph: Martin Kennedy.
Simon Patterson talks about his show Safari: An Exhibition as Expedition, at the De La Warr Pavilion in Bexhill-on-Sea, and about the concepts that inform his work.
Henri Matisse. Safrano Roses at the Window, 1925. Oil on canvas, 80 x 65 cm. Private collection. Photograph © Private collection. © Succession H. Matisse/DACS 2017.
This exhibition tells the story of Matisse’s collecting habits, but fails to conjure up the joy of discovery.
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