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The artist talks about his current exhibition, Double Diablerie, in which he explores superstitions around the Devil, along with fellow Scottish artist Ian Howard and two Japanese artists
Pablo Picasso. Woman in a Hat (Olga), 1935. Centre Pompidou, Paris. Musée national d’art moderne. Copyright: Succession Picasso/DACS London, 2016. Photograph: Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais/Rights reserved.
Picasso’s life and art were shaped by friends, family and lovers, and as this exhibition demonstrates, his portraits were just as varied as his relationships.
Left and centre: Gisueppe Penone, Five works from Indistinti confine, 2012-13. Marble, bronze, dimensions variable. Right: Giuseppe Penone, Dafne, 2015. Bronze, 287 x 116 x 100 cm. Courtesy of Marian Goodman Gallery.
Although he may not initially seem to possess the radicalism of his arte povera contemporaries, the Italian artist’s work abounds with mellow fruitfulness and measured contemplation.
Joey Holder in her immersive installation, Ophiux, at Wysing Arts Centre, Cambridge, 8 October 2016. Photograph: Martin Kennedy.
The artist shows Studio International around her ‘futuristic medical room’ installation and explains how what, at first, might seem like science fiction, is pretty much science fact.
Tom Ellis, The Middle, installation view of the Front State Room. Courtesy of the Wallace Collection, copyright Rob Murray.
The British artist talks about context, subversion and what it means to build a career in the middle.
George Grosz. Der Mensch ist gut (People are basically Good), 1921. From: Ecce Homo, publ. 1923. Coloured offset print. © Museum der Moderne Salzburg. © Bildrecht Wien. Photograph: Hubert Auer.
With three centuries’ worth of satire, this exhibition offers an overview of things that have changed and, perhaps more engagingly, things that have not, through an artist’s eye view of society.
Simon Lewty. The Passage Towards Stone, 1984. Acrylic and ink on paper, 156 x 156 cm.
Lewty, whose work combines fantastic images with text, talks about where his inspiration comes from, the music he listens to while working, and the artists who have influenced him over his lifetime.
Installation view of Marlene Dumas's works in Reading Prison. Photograph: © James Lingwood. Courtesy of Artangel.
Since it was founded in 1985, cultural organisation Artangel has made a name for itself staging exhibitions in headline-grabbing locations. Its latest show brings a cast of literary and art-world heavyweights to the cells, corridors and chapel of HM Prison Reading, which closed in 2013.
Rashid Johnson. Falling Man, 2015. Mirrored tile, white ceramic tile,spray enamel, vinyl, black soap, wax, 245.7 x 184.8 x 5.4 cm (96 3/4 x 72 3/4 x 2 1/8 in).
This is Johnson at his best. Mirrors, branded wood, black soap, shea butter, cut-up photography – his trademark materials are all here in this vast gallery, as he draws visitors in to contemplate his themes of anxiety and race.
René Magritte. Le Modèle rouge III (The Red Model III), 1937. Oil on canvas, 206 x 158 x 5cm. 
Collection: Museum Boijmans Van Beuningen, Rotterdam. © ADAGP, Paris and DACS, London 2015 © DACS & The Estate of René Magritte.
A fantastic range of Surrealist works and ephemera displayed in this exhibition shows the mutifaceted nature of the surrealist art movement, encountered through four different collections of Surrealist art.
The Closer We Get, 2015. Karen Guthrie and her mother, Ann. Photograph: Nina Pope.
The film-maker talks about her incredibly successful and amazingly raw and personal documentary of her family history, The Closer We Get.
Toby Ziegler talking to Studio International at Simon Lee Gallery, London, 6 October 2016. Photograph: Martin Kennedy.
The artist explains his processes of painting and sanding, and using Google’s reverse image search to create works with layers of geological exploration.
Andrew Gillespie, AKA, 2016. Collage, 86 x 61.5 cm.
Nathaniel Pitt explains that he looked to the processes of artists, instead of the subjects of their work, to curate the show. The three artists in this show, he says, are not starting from media, but from their curiosity.
Simon Starling, At Twilight / Mask of W.B. Yeats, 2016. Mask by Yasuo Miichi. Courtesy of Simon Starling & The Modern Institute.
The Turner Prize-winning conceptual artist underscores his first institutional show in New York with a meticulously researched multimedia installation based around WB Yeats’s 1916 play At the Hawk’s Well and Noh theatre.
Stuart Kestenbaum and Susan Webster. Photograph: Leslie Bowman, 2014. Bowman Studio, Trescott Maine, USA.
Maine’s poet laureate Stuart Kestenbaum and artist Susan Webster talk about their recent collaborative cross-disciplinary work.
Oscar Murillo. through patches of corn, wheat and mud, 2016. Latex on linen with steel and scale, 174 x 268 x 30 1/2 in (442 x 680.7 x 77.5 cm). Courtesy the artist and David Zwirner, New York/London.
Canvases appear abandoned on the floor and wet paint suggest a state of un-finish, but the compositions are complex, and the overlaid marks, prints, and repeated brushstrokes, a result of a prolonged process and experimentation.
Franz Kline. Vawdavitch, 1955. Oil on canvas, 158.1 x 204.9 cm. Museum of Contemporary Art Chicago, © ARS, NY and DACS, London 2016. Photograph: Joe Ziolkowski.
The towering canvases of abstract expressionism crowd the main galleries of the Royal Academy in this monumental exhibition.
Zhao Zhao in his Beijing studio, May 2015. Photograph: Martin Kennedy.
A prominent member of the post-1980s generation of Chinese artists and a former assistant of Ai Wewei, the Beijing artist talks about his visually stunning, anti-authoritarian and provocative work. Lilly Wei talked to the artist in his Beijing studio in 2015.
Elpida Hadzi-Vasileva. Beauty Exposed II, 2016. Sheep stomach, pig intestine and turned wood.
The artist, who makes beautiful works of art using waste products from the meat industry talks about God, gastroenterology and pigs’ guts.
Robert Mapplethorpe. Jay - Kiss, 1973. Vintage silver print in custom stained wood frame, small glass door knob, pressed flower in resin and printed silk scarf, 119.4 x 43.2 x 5.5 cm. Courtesy Galerie Thaddeus Ropac, Paris/Salzburg. © Robert Mapplethorpe Foundation. Used by permission. Photograph: Ulrich Ghezzi.
An enlightening and enriching insight into the juvenilia of the controversial photographer, showing 12 rarely seen collage and assemblage works, in which he develops motifs and themes that continue throughout his career.
The Green Room, Victoria & Albert Museum. Glithero, British designer Tim Simpson and Dutch designer Sarah van Gameren.
More than 400 events and installations from high-profile designers and rising stars were included in this year’s London Design Festival, while the city’s inaugural design biennale showcased the works of 37 countries at Somerset House.
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