Studio International: Visual Arts, Design and Architecture, Studio International

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

Julian Lethbridge. Untitled, 2016-17 (detail). Courtesy the artist and Contemporary Fine Arts. Photograph: Matthias Kolb.

Hans Hansen. Untitled (Plant models), 2007. © Hans Hansen.

Hans Hansen: Still Life

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.

Hélio Oiticica: To Organize Delirium

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.

Harold Cohen’s Drawing Machine in 1979. Courtesy Harold Cohen’s archive.

Delving into coding: the art of Harold Cohen

Harold Cohen, who developed Aaron, one of the first and most complex software programs for computer-generated art, died last year at the age of 87. We look back at his achievements.

Clare Woods. Comfort Monitor, 2016. Oil on aluminium, 3m x 2m (118 x 78in). Courtesy the artist and Simon Lee Gallery London & Hong Kong.

Clare Woods: Victim of Geography

For her first solo exhibition in Scotland, the renowned British artist Clare Woods presents 11 striking new paintings.

Stephen Chambers talking to Studio International at the opening of The Court of Redonda, Venice, 2017. Photograph: Martin Kennedy.

Stephen Chambers: The Court of Redonda – Venice Biennale 2017

UK artist Stephen Chambers talks about looking for the extraordinary within the ordinary, about the appeal of fictional kingdoms, the relationship between art and literature, and being led by his instincts to do what he ‘can’t help doing’.

Laura Youngson Coll: ‘The real catharsis was in the making process, because that’s something that’s personal to me, and it’s the way in which I assimilate things’

Expanding on her fascination with the world of nature and natural sciences, Laura Youngson Coll has produced an intricate series of work in vellum – mixing fact and fiction, beauty and abjection – responding to the loss of her partner to non-Hodgkin lymphoma.

Benny Andrews. Did the Bear Sit Under a Tree?, 1969. Oil on canvas with painted fabric collage and zipper, 127 x 156.8 x 5.7 cm. Emanuel Collection. © Estate of Benny Andrews /DACS, London IVAGA, NY 2017.

Soul of a Nation: Art in the Age of Black Power

This is an exhibition of tragedy, celebration and defiance at a time of change and violence in the US’s racial history. Soul of a Nation is powerful, moving and brimming with artistic heroes who, until now, have been largely overlooked and underappreciated.

Otto Dix. Reclining Woman on a Leopard Skin, 1927. (Liegende auf Leopardenfell), 1927. Oil paint on panel, 68 x 98 cm. © DACS 2017. Collection of the Herbert F. Johnson Museum of Art, Cornell University.

Portraying a Nation: Germany 1919–1933

A portrait of a nation, of an era, and, at heart, of humanity, this dual exhibition of two key artists of the Weimar Republic – photographer August Sander and painter Otto Dix – gives a comprehensive overview of the sociopolitical climate and the people living through it.

Evgenia Arbugaeva. Photograph: Theodora Richter.

Evgenia Arbugaeva: ‘I’m always making up stories and believing in magic’

The Russian photographer Evgenia Arbugaeva spins gold from the light of desolate places, finding beauty in some unlikely environments.

Afruz Amighi. Photograph: Matteo Leonardi.

Afruz Amighi: ‘I wanted to make a procession of characters that embodied both good and bad’

In No More Disguise, Afruz Amighi’s first show of drawings, the New York-based artist discusses the creative impulse she experienced following the 2016 US election, and the role of American history in her most personal work to date.

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.

Matisse in the Studio

This exhibition tells the story of Matisse’s collecting habits, but fails to conjure up the joy of discovery.

Guy Yanai. Los Angeles, 2017. Oil on linen, 150 x 180 cm.

Guy Yanai: ‘Every work that leaves my studio is part of an inexhaustible autobiography’

The Israeli artist Guy Yanai explains the stories behind the bold, colourful oil paintings in Speak, America, his solo exhibition in New York, and talks about being influenced by Vladimir Nabokov, David Hockney and Matisse.

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Hanne Darboven. In-House Letter to Mother at Burgberg, 24.12.1974. Copyright: Hanne Darboven Foundation. Courtesy Christians Verlag, Hamburg.

Hanne Darboven: Korrespondenzen

An exhibition in Berlin uses a collection of correspondence to place the great German conceptualist Hanne Darboven in context.

Bill Viola. Chott el-Djerid (A Portrait in Light and Heat), 1979. Videotape, colour, mono sound, 28 minutes. Produced at WNET/Thirteen Television Laboratory, New York.

Bill Viola Retrospective

Bill Viola’s strength is in using the video camera to get under the viewer’s skin, peeling away what we think we know about reality. But now, it seems, he has been seduced by the technology of the medium, to the detriment of his explorations of pure experience.

Marlie Mul: This exhibition is cancelled, gallery view, Glasgow Gallery of Modern Art 2017. Photograph: Max Slaven.

Marlie Mul: ‘It’s not a refusal. It’s that, basically, nothing was possible’

Until the end of October this year, there will be no exhibition in Gallery 1 of Glasgow’s Gallery of Modern Art. Here, Marlie Mul, the artist who was meant to be showing in the space from May onwards, explains why.

Vic in Oil Tank – North of Inverness, deep inside the Inchindown Oil Tank, searching for the worlds longest reverb.

Vic McEwan: ‘I played a paddle-steamer to an audience of 1,000 and used a hospital bed as a cello’

The artist Vic McEwan talks about his project on the swan hoppers of the Murrumbidgee river in Australia, and working with Alder Hey children’s hospital in Liverpool to consider the negative effects of high sound levels in wards. He hopes, he says, to engage the human experience and develop contemporary art forms.

Maggie’s Centre for cancer care, Oldham

An enchanting matchbox on stilts, with a garden below and a tree at its centre, there is poetry, symbolism and a real emotional intelligence here at dRMM’s new Maggie’s Centre for cancer care in Oldham.

Alexandra Dementieva. Photograph: Evgeny Gurko.

Alexandra Dementieva: ‘All art is an interactive game. I am offering the viewer an opportunity to take an active part in the work’

Don’t come to Alexandra Dementieva’s exhibition with the hope of being a passive spectator. As she explains, her aim is to draw the visitor in to her installations, to engage them in public performance.

Esther Rolinson: ‘Light has an immediacy. We are literally woken up by it’

The multimedia artist Esther Rolinson talks about her exhibition Gravitate at Watermans Art Centre, the allure of light and its qualities as an artistic material, the significance of collaborative work and the incessant movement of her art-making.

Jade burial suit with gold thread, Western Han (206 BCE – 8 CE), L 176 cm (69 5/16 in), W (shoulder) 68 cm (26 13/16 in); 4,248 pieces of jade, 1,576 g (about 55.6 oz) of gold thread, excavated in 1994–95 from the King of Chu’s tomb at Shizishan. Collection of the Xuzhou Museum. 金缕玉衣，西汉，长176、肩宽68厘米，玉片4248片、金缕1576克，1994–1995年狮子山楚王墓出土，徐州博物馆藏

Willow Hai: ‘The jade burial suit is the single most important object in the show – and the best in China’

Willow Hai, director of the China Institute in New York, talks about its current show, Dreams of the Kings, a spectacular collection of treasures from the Han dynasty, including possibly the earliest dated jade burial suit in existence.

Harold Cohen talking to Studio International in his home studio, Encinitas, California, May 2015.

Harold Cohen: ‘I was probably the only person who considered the computer to be potentially an autonomous art-making entity’

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.

Damien Hirst. The Collector with Friend. Bronze, 185.5 x 123.5 x 73 cm. Photograph: Joe Lloyd.

Damien Hirst: Treasures from the Wreck of the Unbelievable

The YBA’s watery comeback dazzles with its extravagance, but the audacity of Hirst’s exhibition only goes so far.

An interview with Marcel Duchamp

’[Marcel Duchamp:] ...The whole of modern art—the Impressionists, the Fauves, the Cubists—the whole, except maybe the Surrealists, were retinal. Abstract expressionism was very retinal, and of course, Op art is very retinal. A little too retinal for one’s taste.’.

Lluís Lleó: ‘It was important to me that the sandstone came from Spain and that I made them there’

Lluís Lleó talks about how, for his recent installation on Park Avenue, New York, he was inspired to use stones from Europe that referred to the history of murals and fresco painting as a way of re-establishing a relationship between old and new worlds.

Andrew Rogers: I AM–ENERGY

Among Expo 2017’s vast complex of pavilions stands Andrew Rogers’ I AM–ENERGY. A sculptural feat of engineering, it spirals triumphantly upwards to more than 10 metres, confronting visitors like a graceful ballerina en pointe.

Hayv Kahraman. T25 and T26, 2017. Oil on linen, 203.2 x 152.4 cm (80 x 60 in). © Hayv Kahraman. Courtesy of the artist and Jack Shainman Gallery, New York.

Dreamers Awake

Filled with dark eroticism and witty visual puns, Dreamers Awake is a sprawling survey that explores the influence of surrealism through works by women artists from the 1920s on.

Jesse Jones talking to Studio International at the opening of Tremble Tremble, Pavilion of Ireland, Venice Biennale 2017. Photograph: Martin Kennedy.

Jesse Jones: Tremble Tremble – Venice Biennale 2017

Gender inequality was one of many human rights issues that artists wrestled with at the 57th Venice Biennale, with one of the most powerful statements coming from the Irish pavilion, in the Arsenale. Here, artist and film-maker Jesse Jones has constructed a huge theatrical evocation of her own creation myth, that of the giantess.

Raqib Shaw

A new show at the Whitworth Manchester combines Raqib Shaw’s paintings and sculptures with prints, textiles and objects that reveal an intense dialogue between the ages and across continents.

Ida Applebroog: Mercy Hospital

These drawings from the forgotten sketchbooks of the well-known feminist artist Ida Applebroog offer an intimate insight into her struggle with depression during a six-week stay at Mercy Hospital in 1969.

Tom Burr: Surplus of Myself

Running parallel to Münster’s Skulptur Projekte, notions of private and public are unsettled in this playful post-minimal exhibition of new works by American artist Tom Burr.

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