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Indian artist Mithu Sen has a quicksilver practice that is difficult to categorise or maintain as a singular narrative. This, she says, is intentional – it is her effort to defy the demands of the market
Georgia Horgan. All Whores are Jacobites, installation view, 2017. Photograph: Ollie Hammick.
The artist talks about her recent exhibition, All Whores are Jacobites, and how she became intrigued by the lives of three women whose lives were linked by themes of prostitution, textile work and protest.
Rachel Maclean talks to Studio International about representing Scotland at the Venice Biennale with her new film, a dark fairytale titled Spite Your Face. Photograph: Martin Kennedy.
Maclean is representing Scotland at the Venice Biennale with her new film, a dark fairytale titled Spite Your Face. She talked to us before the biennale about the film, nationalism, fairytales, and how narratives can be so powerful that audiences prefer the fiction to fact.
Frances Stark. Still image from The making of The Magic Flute, 2017.
The Los Angeles-based interdisciplinary artist and writer talks about her first opera, an adaptation of Mozart’s Magic Flute,and her desire to cross boundaries.
Tracey Emin. My Bed, 1998. Box frame, mattress, linens, pillows and various objects, overall display dimensions variable. Lent by The Duerckheim Collection 2015. © Tracey Emin. All rights reserved, DACS 2016.
While the similarities between the work of Tracey Emin and William Blake are tenuous, the latest instalment of Tate Liverpool’s In Focus series is interesting for other reasons.
Oliver Griffin. Demonstrations of Patterns in Flow OG0157, 2016. © the artist, courtesy Hannah Barry Gallery.
The artist talks about drinking White Russians, his BMX bike, which he has named Susan, taking pictures of tyre marks, and why there is no such thing as a boring photograph.
Nathalie Djurberg & Hans Berg. Delights of an Undirected Mind, 2016 (still). © Nathalie Djurberg & Hans Berg. Courtesy Lisson Gallery.
Lust, sexual desire, sin and guilt are explored in a series of short claymation films supported by a new sculptural installation from the Swedish artist duo.
Nicky Hirst. Into The Woods, 2010-2017. An assortment of placards, found objects on sticks, left to right: Translation (2010), Nocturne (2010), Flail (2011), Spindles (2017), Standard (2010), Halo (2011), Aperture (2016), Frill (2015). Courtesy the artist and Domobaal. Photograph: Andy Keate.
Nicky Hirst's sculptures and installations quietly and skillfully explore the consonances and dissonances between object, context and materials. Funny, poetic, profound and wistful, the nine pieces – comprising mostly found objects, arranged or crafted in unlikely compositions – in this solo show pack a powerful metaphorical punch.
Linda Kitson. Argentinian Pucarás at Stanley airstrip in 1982. © 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.
Léo Caillard, from the series Hipsters in Stone, 2013. Photograph courtesy Sebastien Adrien Gallery – Paris.
The exhibition captures the ingenuity and playfulness involved in critical perception, with more than 50 artists basing works on historic artworks to form contemporary pictures.
Zoë Paul, The Perma Perla Kraal Emporium, 2017, installation view at The Breeder, Athens. Courtesy The Breeder, Athens.
‘We need to have a connection to the place we live in. It’s an extension of ourselves and it’s also a form of communication,’ says Paul, who invites people to join her at The Breeder gallery in Athens to roll clay beads and have a cup of sage tea.
Frieze New York 2017. Photograph: DJS.
The fair’s extensive list of programmes and projects, including a symposium on Latin American art, performances and films, celebrated diversity by including domesticated ‘others’, but failed to deal with the reality of the world outside the tent.
Anthony McCall. Line Describing a Cone, 1973. Courtesy Julia Stoschek Foundation e. V. and Sprüth Magers. Installation view at KW Institute for Contemporary Art, 2017. Photograph: Frank Sperling.
The biggest week of the year for Berlin’s contemporary art scene saw the opening of dozens of exhibitions. Here are some highlights and impressions.
Audrey Walker. Joan Eardley at easel, looking downwards and holding paintbrushes. Photograph: John McKenzie. © Jane Walker.
During her tragically short career, the painter concentrated on two contrasting areas of Scotland, which form the focus of this exhibition.
Despite its scale and contemporary concrete exterior, Lascaux IV is sympathetic to its context. Photograph: Veronica Simpson
With Lascaux IV, which contains a state-of-the-art simulation that brings to life the famous Lascaux cave and its Palaeolithic paintings, Norwegian architects Snøhetta and UK design partner Casson Mann have created an uplifting and educational temple to a vanished civilization.
Eddie Martinez talking to Studio International at the opening of Cowboy Town at Timothy Taylor Gallery, London, April 2017. Photograph: Martin Kennedy.
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.
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.
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