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This exhibition delivers everything you would expect from the colourful Perry, but it is also a reminder that he is as much a part of the establishment as he is an original thinker
Shigeru Ban’s design for La Seine Musical kept costs down with the same creamy concrete exterior and interior, but there is one extravagance: the acoustic Auditorium with its moveable sail. Photograph: Didier Boy de la Tour.
Shigeru Ban has landed an ocean liner of a music venue at Paris’s westernmost edge. With two auditoria and a huge amount of public space, it is hoped the €170m building will enrich the city’s music scene and the fortunes of the formerly industrial island in the Seine on which it sits.
Samson Young talks to Studio International at the opening of his show, Songs for Disaster Relief, a collateral event for Hong Kong at the Venice Biennale 2017. Photograph: Martin Kennedy.
Young’s Venice Biennale collateral event for Hong Kong explores the disquieting cocktail of components that comprise the charity single. He talks about the power of music, fake news and what our cultural products say about human nature.
Under the wave off Kanagawa (The Great Wave) from Thirty-six views of Mt Fuji. Colour woodblock, 1831. Acquisition supported by the Art Fund. © The Trustees of the British Museum.
This exhibition brings to life the story of the Japanese artist Hokusai’s later, and arguably greatest, years.
Matteo Norzi, Leonor Caraballo and Abou Farman on the set of Icaros – A Vision. Photograph: Conibo Productions.
Abou Farman, who co-wrote Icaros: A Vision with Leonor Caraballo, talks about the film, which is based on Caraballo’s exploration of shamanism after she was diagnosed with cancer, and coming to terms with her death.
Frank Quitely, 2017.
The Glaswegian comic-book superstar Frank Quitely is celebrated in this new exhibition of his famous work.
Lee Lozano. No title, c1962. Oil on board, 7 x 8.3 cm. © The Estate of Lee Lozano. Courtesy the Estate and Hauser & Wirth.
Merging human organs and household objects, Lozano’s early miniatures are erotic and unsettling in equal parts.
Geta Brătescu. Doamna Oliver în costum de călătorie (Lady Oliver in her travelling costume), 1980–2012. Black and white photograph. Courtesy Galerie Barbara Weiss, Berlin.
Camden Arts Centre’s exhibition provides an overview of Brătescu’s artistic career and including drawing, collage, video, sculpture and photography.
Rebecca Belmore. Biinjiya'iing Onji (From inside), 2017. Marble, Filopappou Hill, Athens, documenta 14. Photograph: Fanis Vlastaras.
Despite multiple curatorial concepts, the first part of Documenta 14 is dominated by the decision to hold it in Athens. Beyond the political decisions and curatorial rhetoric, the exhibition is an ambitious and extensive city-wide production that can be read in many ways.
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.
Tadaaki Kuwayama talking to Studio International at the opening of Radical Neutrality at the Mayor Gallery, London, 6 June 2017. Photograph: Martin Kennedy.
The Japanese-born artist recounts his refusal to dictate how spectators should view his work, his visual dialogue with Frank Stella, and the desire to void his art of meaning.
Alexander Calder. The Arches, 1959. Sheet metal and paint. 106 × 107 1/2 × 87 in (269.2 × 273.1 × 221 cm). Whitney Museum of American Art, New York; gift of Howard and Jean Lipman. Photograph: Jill Spalding.
Drawing on its extensive collection, this small but exquisite show floated by the Whitney Museum of American Art presents Alexander Calder’s balancing act as a modernist revolution whose visual vocabulary gave art another dimension.
Star Wars, Episode IV: A New Hope (US 1977). Film still. Courtesy the Roger Grant Archive.
As we see from the Barbican’s science fiction exhibition, the genre has consistently looked to the future as a means to extrapolate and accentuate the hopes and fears of the present.
Tom Phillips talking to Studio International before the opening of Connected Works at Flowers Gallery, Kingsland Road, London, 25 May 2017. Photograph: Martin Kennedy.
The artist talks about his love of words, the human drive to make marks and the more spiritual side of his work.
Jenny Crompton. Sea Country Spirits, 2016. Lorne Sculpture Biennale. Recycled copper wire, shells, feathers, roo bones, grass tree fronds and paint.
The Australian artist explains how she made her installation Sea Country Spirits, and talks about discovering her Wadawurrung heritage and how it changed her practice as she moved away from man-made materials to using materials she collects from the land.
Nathaniel Mellors and Erkka Nissinen’s talk to Studio International about their film The Aalto Natives for the Pavilion of Finland, Venice 2017. Photograph: Martin Kennedy.
Mellors and Nissinen represent Finland at this year’s Venice Biennale. They discuss handmade puppets, homemade film sets, creation myths involving eggs, the flimsy narratives on which national identities are built, and whether you have to love something in order to make fun of it.
Chris Hondros. Photograph of Joseph Duo (2003), the commander of a band of child soldiers in the army of the then Liberian president, Charles Taylor. Courtesy Sunshine Sachs/Getty Images.
Campbell talks about his film Hondros, which premiered at the year’s Tribeca Film Festival, and about his long friendship with its subject, the photojournalist Chris Hondros, who was shot and killed in Libya in 2011.
Alberto Giacometti. Bust of Diego, c1956. Plaster, 37.3 x 21.5 x 13 cm. Collection Fondation Alberto and Annette Giacometti, Paris. © Alberto Giacometti Estate, ACS/DACS, 2017.
Alberto Giacometti’s scrawny figures pulse with kinetic energy. This new retrospective at Tate Modern shows his versatility, celebrating his passion for materials other than the bronzes for which he is famed, giving a greater breadth and depth to the understanding of his work and inspirations.
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.
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