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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
Lygia Pape. Pintura (Painting), 1953. Oil on canvas. Photograph: Paula Pape. © Projeto Lygia Pape.
The exhibition gives an insight into the development of modernism in Brazil, a country to which it was an extraneous mode of aesthetic language, developed under the influence of a somewhat slowly spreading wave of international modernism.
Secundino Hernández. Untitled, 2017. Acrylic, rabbit skin glue, chalk, calcium carbonate and titanium white on linen, 311 x 261 x 4 cm (122 1/2 x 102 3/4 x 1 5/8 in). Courtesy the Artist and Victoria Miro, London. © Secundino Hernández.
The artist talks about his academic origins, the delicate equilibrium he seeks between accident and control, the quintessentially Spanish spirit of his painting, and his current exhibition, Paso, at Victoria Miro, London.
David Hepher. Arrangement in Greys and Silvers, 1995. Concrete, acrylic, oil and spray paint on canvas, 214 x 270 cm (84 ¼ x 106 ¼ in). © David Hepher, Courtesy of Flowers Gallery
Unusually for a landscape artist, Hepher has for 40 years focused almost exclusively on the tower blocks of south London. In this retrospective, his large-scale triptychs evoke an almost elegiac sense of time and place.
Alexey Titarenko. From the series Nomenclature of Signs (Kino), 1986-1991. Unique gelatin silver photomontage, 13 ½ x 13 ½ in (34.3 x 34 cm).
An exhibition at the Naiya Alexander Gallery in New York brings together Titarenko’s photographs from four cities taken over 30 years. Here, he talks about how life in the Soviet Union shaped his work, being jailed by the KGB, and how he found happiness in New York.
James Capper in his London studio, March 2015. Photograph: Martin Kennedy.
We visited James Capper over the course of four months, first filming him in his London studio where he explained the initial concept for his sculpture Six Step and finally following him to its installation at the Venice Biennale in 2015.
Maeve Brennan. The Drift, 2017. Produced by Chisenhale Gallery, London and Spike Island, Bristol. Commissioned by Chisenhale Gallery; Spike Island; The Whitworth, The University of Manchester; and Lismore Castle Arts, Lismore. Courtesy of the artist.
Premiering at the Chisenhale Gallery, Brennan’s film The Drift (2017) depicts restorative labour as the means to reconstruct Lebanon’s war-torn past and build a new future.
Gillian Wearing. Me as Cahun holding a mask of my face by Gillian Wearing, 2012. Courtesy the artist and Tanya Bonakdar Gallery, New York and Maureen Paley, London. Copyright: Gillian Wearing, courtesy Maureen Paley.
Defying history, this exhibition reveals crucial parallels between the surrealist Cahun and contemporary artist Wearing, from the birth to the death of their manifold identities.
Marsden Hartley. The Ice Hole, Maine, 1908-9. Oil on canvas, 34 x 34 in (86.4 x 86.4 cm). New Orleans Museum of Art, Museum Purchase through the Ella West Freeman. Foundation Matching Fund.
Capping a series of pioneering shows at the Met Breuer that, force majeure, will serve as the new wing of the Metropolitan Museum of Art, this insightful appraisal of Marsden Hartley as “the Painter from Maine” places the Yankee for all time in the centre of his own court.
Phyllida Barlow. Untitled: stackboxtube2015, 2015, Cardboard, plywood, scrim, cement, plaster, tape, paint, spray paint, PVA, 174 x 80 x 105 cm. Photograph: Alex Delfanne.
Courtesy of the Artist and Hauser & Wirth.
A mix of sculpture, tapestry, film, photography, painting and collage by 33 artists whose work refers to, or manipulates, the built environment, this exhibition heightens awareness of one’s own physical presence and the intensity – and complexity - of our relationship to the material and spatial world around us.
Anna Berger. Off Piste, 2016. Oil on aluminium, 70 x 60 cm. Courtesy of Kevin Kavanagh Gallery.
In order to understand contemporary painting, curator Séamus Kealy presents the work of nine European artists, examining their work through the lens of phenomenology.
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.
Ipek Duben talking to Studio International at the opening of her exhibition, THEY/ONLAR, Fabrica, Brighton, 7 April 2017. Photograph: Martin Kennedy.
The Turkish artist discusses her work THEY/ONLAR, a multiscreen video installation previously seen at SALT, Istanbul, and now showing for the first time in the UK.
John Constable. A windmill near Brighton, 1824. Oil on canvas. Lent by Tate: Bequeathed by George Salting, 1910.
A pivotal period of John Constable’s life was spent in Brighton, where he would repeat three favourite walks, making sequential sketches, often intended as visual notes for larger paintings, but many quite exquisite as works in their own right.
Helle Thorning-Schmidt, the Danish prime minister, took a selfie of herself with President Barack Obama and UK prime minister David Cameron at the Nelson Mandela memorial, December 2013. Courtesy ROBERTO SCHMIDT/AFP/Getty Images.
Advertised as the world’s first exhibition dedicated to the history of the selfie, From Selfie to Self Expression explores our relationship – healthy or otherwise – with our own image.
Caroline Walker. A Scattering, 2011. Oil on canvas. © the artist.
Walker’s quietly charged, often luxurious, spaces frame half-told narratives that complicate traditional ideas of the woman as subject. She talks about her process and how feminism is a nuanced concept.
Norman Hyams talking to Studio International before the opening of his solo show Ethos at Hannah Barry Gallery, London, March 2017. Photograph: Martin Kennedy.
The artist talked to Studio International about his painting process before the opening of his first solo show for 10 years, Ethos at The Hannah Barry Gallery in south London.
After Industry, installation view, Wasserman Projects, 2017. Detroit. Photograph: PD Rearick. Courtesy of Wasserman Projects.
This exhibition of works by Christer Karlstad, Willy Verginer and Jason DeMarte, fittingly staged in a former firehouse in Detroit's Eastern Market district, explores the post-industrial condition.
Amelie von Wulffen, The misjudged Bimpfi, Installation view, Studio Voltaire 2017. Courtesy of the artist and Studio Voltaire. Photograph: Andy Keate.
For her first solo exhibition in the UK, the artist deals with themes of guilt, marginalisation, sexual fantasy and emotional trauma through an aesthetic influenced by historical genre painters – and a talking mushroom.
Office of Ryue Nishizawa, Moriyama House, 2005. © Takeshi Homma.
Featuring more than 40 architects, this exhibition traces 70 years of small-scale innovation to celebrate some of the most distinctive and significant projects to have been realised in Japan since the second world war.
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