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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
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.
Guy Yanai. Los Angeles, 2017. Oil on linen, 150 x 180 cm.
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.
Hanne Darboven. In-House Letter to Mother at Burgberg, 24.12.1974. Copyright: Hanne Darboven Foundation. Courtesy Christians Verlag, Hamburg.
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’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.
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.
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. Photograph: Alex de Rijke.
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.
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: Gravitate.
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, 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.
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.
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 by Dore Ashton. First published in Studio International, Vol 171, No 878, June 1966, page 244.
’[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. Photograph: Corrado Serra.
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, installation view in front of Nur Alem, nicknamed The Sphere, the Expo’s hub, housing the Kazakhstan National Pavilion and Museum of Future 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.
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.
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. Detail of Self-portrait in the Studio at Peckham (this is how Shaw depicts himself, part clown, part skeleton), 2014-15. Photograph: Veronica Simpson.
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, 1969. Ink and watercolour on paper, 35.6 x 27.9 cm (14 x 11 in). © Ida Applebroog. Courtesy the artist and Hauser & Wirth. Photograph: Emily Poole.
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, installation view, Westfälischer Kunstverein, 10 June – 1 October 2017. Photograph: Thorsten Arendt. Courtesy the artist; Galerie Neu, Berlin and Bortolami, New York.
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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