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Eddie Martinez: ‘I just want people to interpret the work how they want’

The artist talks about his latest show, Cowboy Town, at Timothy Taylor Gallery in London, the influence of US politics on artists, and why he looks at his work on his phone all night

John Latham. Painting with Tennis Ball Marks, 1970. Installation view, Serpentine Gallery, London (1 March 2017 – 21 May 2017). Photograph © Luke Hayes.
Two concurrent exhibitions present a selective view of the career of renowned conceptualist John Latham along with work by four contemporary artists that reveals his profound influence today.
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.
Linda Kitson. Illustration for Touching People by Jerome Liss. Published in the Spectator magazine, 17 October 1970. © Linda Kitson.
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.
Hannah Gluckstein. Gluck, 1942. Oil on canvas, 30.6 x 25.4 cm. © National Portrait Gallery.
To mark the 50th anniversary of the partial decriminalisation of sex between men, Tate Britain’s contribution to the plethora of queer exhibitions across the UK is a well-curated, well-balanced, aesthetically compelling tribute to sexualities and genders across the spectrum.
Tony Heywood and Alison Condie. Head Land in situ at Jerwood Gallery, Hastings, 2017. Photograph: Emily Spicer.
Tony Heywood and Alison Condie’s ode to Hastings attempts to combine psychedelic sculpture with plants, but the jarring mixture of the natural and the artificial fails to capture the essence of this crazy coastal town.
Brook Andrew, SPIN, installation view, Tolarno Gallery, Melbourne, 6 April - 20 May 2017.
History, identity and race dominate the Australian artist’s work, as he challenges stereotypical ideas, uncovering neglected and often conflicted histories, particularly relating to the Indigenous people of his own country.
Deanna Petherbridge. Bankside in Media Res I, 1995. Pen and ink on paper, 153 x 103 cm.
Using pen and ink as a metaphorical means of interrogating human interest, Petherbridge sees drawing as akin to writing, only perhaps more democratic.
Co-curator Sam Cornish explains the thought process behind Kaleidoscope: Colour and Sequence in 1960s British Art. Photograph: Martin Kennedy.
The co-curator of Kaleidoscope: Colour and Sequence in 1960s British Art discusses how this relatively unsung period in art history was characterised by more than just bright colours and glossy surfaces.
Naeem Mohaiemen. United Red Army, 2011, 70 mins.
Tensta Konsthall is showing Bangladeshi artist Naeem Mohaiemen’s 2011 film, United Red Army, about the hijacking of a Japanese Airlines flight in 1977, along with two related vitrine displays.
Drawing Biennial 2017, The Drawing Room, London, installation view.
The eighth edition of the Drawing Biennial, which includes more than 200 works on paper, prompts a reflection both on the status of drawing today and the world around us.
Jean Painlevé in Roscoff Brittany, circa 1960 © Archives Jean Painlevé, Paris. Image courtesy of Archives Jean Painlevé, Paris.
This is the first UK solo show for this fascinating artist, who chronicled key moments in the lives of seahorses, snails and other marine animals, using novel technologies to reach microscopic scales.
Saad Qureshi talking to Studio International at Gazelli Art House, London, 3 March 2017. Photograph: Martin Kennedy.
The artist talks about his seduction by charcoal, his fear of being exposed, and his creation of mindscapes from his own and others’ memories.
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