logo studio international
Photographer and film artist Stan Douglas talks about his new works, which extend his interest in historical moments of rupture to the 2011 London riots
Tove Jansson. Self-Portrait, 1975. Oil, 65 x 47 cm. Private collection. Photograph: Finnish National Gallery / Yehia Eweis.
Studio International visited the Dulwich Picture Gallery to view the Finnish artist Tove Jansson’s first retrospective exhibition in the UK. She is well-known as the creator of the Moomins, but as this major retrospective makes clear, Jansson’s work encompasses many creative disciplines.
Grace Weir. Credit Unfolded, Laure Genillard, 2017. Installation view.
In Irish film artist Grace Weir’s latest exhibition, Unfolded, past and present, the real and representational repeatedly elide. Here, Weir talks about her work and about challenging notions of fixity in art, physics and philosophy.
Kelly Richardson. Orion Tide, 2013-14. Dual channel HD video installation with audio. Photograph: Ruth Clark.
The barren, dystopian landscapes of Kelly Richardson’s audiovisual installations are hypnotically beautiful, recalling sci-fi and Romanticism, and issuing a subtle call to arms over the catastrophic effects of climate change.
Julie Montgarrett. Jacob’s Book, 2013. © the artist.
Australian artist Julie Montgarrett uses her work to explore the continent’s problematic colonial past, employing textiles and stitching to tease out the selective histories and mythologies of settler narratives.
Anni Albers in her weaving studio at Black Mountain College, 1937. Photograph: Helen M. Post. © The Josef and Anni Albers Foundation, VEGAP, Bilbao, 2017.
Remaining committed to the Bauhaus ideals of uniting art and design as one field of form-production, Anni Albers’s pictorial weavings and later graphic prints promoted the egalitarian dissemination of artistic forms and prototypes.
Jasper Johns. Target, 1961. Encaustic and collage on canvas, 167.6 x 167.6 cm. The Art Institute of Chicago c Jasper Johns / VAGA, New York / DACS, London. Photograph: c 2017. The Art Institute of Chicago / Art Resource, NY / Scala, Florence.
The first comprehensive exhibition of Jasper Johns to be held in the UK in the past 40 years looks back over six decades of this great American artist’s work.
Pavel Braila. Optima, 2017. Installation, dimensions variable.
After a summer of double Documentas, the Moldovan artist Pavel Brăila is now included in the second edition of the Art Encounters Biennial in Timișoara, Romania. Here, he talks about how his home region has inspired his work.
Rachel Whiteread. Chicken Shed, 2017. Concrete, 216 x 229 x 278 cm. Courtesy the artist. © Rachel Whiteread. Photograph: © Tate.
In the most substantial survey of Rachel Whiteread’s work to date, the Tate looks back over 30 years of her sculptures.
Wang Du. Psychiatrie et Cardiologie, 2016. Installation view, EXPO Chicago, 2017.
An ambitious Expo Chicago showed positive signs of a refined personality, an adventurous pioneering of emerging galleries and artists, as well as an exciting off-site collaboration with Palais de Tokyo.
Maison Démontable, BCC, 1941. Inside La Grande Halle.
The French architect Jean Prouvé was a radical modernist whose graceful prefab buildings used cutting-edge techniques to further his socially progressive ideals. In an era of housing shortages and mass migration, his work is powerfully relevant – as this extraordinary exhibition demonstrates.
Ilya Kabakov. The Man Who Flew Into Space From His Apartment, 1985. Six poster panels with collage. Centre Georges Pompidou, Paris. © Ilya & Emilia Kabakov.
This first large-scale British retrospective of work by the US-based Russian installation artists Ilya Kabakov and his wife, Emilia, is powerful, vividly varied and thought-provoking.
Zarah Hussain talking to Studio International, London, 17 October 2017. Photograph: Martin Kennedy.
Zarah Hussain (b1980, Cheshire, UK) places her work at “the intersection of science and spirituality”. She combines a lifelong fascination with – and extensive training in – hand-drawn Islamic geometry with the latest digital software to create hypnotic, looping animations made with code. Her work also encompasses apps, paintings and sculptures.
John Everett Millais. Mariana, 1851. Oil on mahogany, 59.7 × 49.5 cm. © Tate, London.
This wishy-washy exhibition is a lesson in tenuous connections.
David Hartt. Still from In the forest, 2017. 4K Digital Video File, colour, sound; 20 min. Courtesy of Corbett vs Dempsey and commissioned by the Graham Foundation for Advanced Studies in the Fine Arts.
In his filmic and photographic portraits of architect Moshe Safdie’s abandoned 1968 housing project Habitat Puerto Rico, David Hartt explores the relationship between site, ideology and environment, at a poignant moment for a country currently struggling with environmental and economic disaster.
Installation view: Art and China after 1989: Theater of the World. Solomon R. Guggenheim Museum, New York, October 6, 2017—January 7, 2018. Photograph: Jill Spalding.
The curatorial mission, to showcase the influence on artists and their practice of two distinct moments of political impact – the Tiananmen Square crackdown and the failed promise of the 2008 Beijing Olympics – upends our understanding of the modern Chinese aesthetic.
Gustav Klucis (Latvian 1895–1938). Vernem Ugol’nyi Dolg Strane (Let’s Repay our Coal Debt to the Country), 1931. Lithograph, 41 x 29 3/16 in. Published by Izogiz, Moscow. Edition: 20,000. Courtesy of Productive Arts, Bratenahl, Ohio.
The exhibition is unique as a form of intergenerational and intercultural dialogue. It brings together curatorial and artistic talent to initiate an inquiry into the legacy of the Russian revolution.
Monica Bonvicini. Passing, 2017 (detail). Site specific installation. Courtesy the artist and König Galerie, Berlin; Galerie Peter Kilchmann, Zürich; Galleria Raffaella Cortese, Mailand/Milan. © Monica Bonvicini and VG Bild-Kunst. Photograph: Jens Ziehe.
In her latest exhibition, the rather unwieldy title of which refers to the volume of space in the gallery vs that of the artist, Monica Bonvicini employs her large installations to consider notions of power, domination and control.
Idris Khan. Installation view, Idris Khan: Absorbing Light, Victoria Miro Gallery II, London, 2017. © Idris Khan. Courtesy the artist and Victoria Miro, London.
Reflections on the horrors of one of Syria’s most famous prisons have driven Idris Khan to new forms of expression, including bronze sculptures and abstract painting.
Louise Bourgeois at the printing press in the lower level of her home/studio on 20th Street, New York, 1995. Photograph by and © Mathias Johansson.
MoMA’s expertly curated exhibition of Bourgeois’ prints rescue the artist from her legend, revealing her drawings to have incubated, formulated and unleashed the emotions that would be entrapped in the fame of her sculpture.
studio international logo
Copyright © 1893–2017 Studio International Foundation.

The title Studio International is the property of the
Studio International Foundation and, together with
the content, are bound by copyright. All rights reserved.
studio international cover 1894
Home About Studio
Archive Yearbooks
Interviews Contributors
Video Contact us
twitter facebook RSS feed instagram

Studio International is published by:
the Studio International Foundation, PO Box 1545,
New York, NY 10021-0043, USA