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Rezi van Lankveld: ‘I pour paint to make a “happening” in the painting’

The Dutch painter explains how her attitude to painting has changed and talks about her recent paintings, now on show at New York’s Petzel Gallery, which reveal a new focus on colour

Wendy Elia. Maxime, 2010. Oil on canvas, 166 x 91 cm. Courtesy East Contemporary Art Collection, University of Sussex. Photograph: Mac Campeanu
To mark the 25th anniversary of Carter’s death, this exhibition brings together works that influenced the writer and works inspired by her, creating a visceral, violent and, at times, unpalatable celebration of magic realism and fairyland pornography.
Pierre Bonnard. Les chapeaux rouges (The red hats), 1894. Oil on canvas, 28 x 33 cm. Private collection. © Adagp, Paris 2016. © Claude Almodovar.
This is an exhibition focusing on intimacy, which conjures just that in its thorough, yet tender, exploration of the people, objects and places close to the artist’s heart.
Aki Sasamoto. Random memo random, 2016. Installation with performance and video documentation, dimensions variable. On display at the Kochi-Muziris Biennale 2016. Photograph: Sheena Dabholkar.
New York-based performance artist Aki Sasamoto has a tendency to speak entirely in metaphor, sit in abstraction for hours, and mark her responses with a small question at the end: No? She asks, smiling. As though everything, at all times, may be overturned.
Hedy Ritterman speaking at the exhibition opening for One man in his time, Jewish Museum of Australia 2016-2017.
Ritterman talks about how her current exhibition, which includes more than 700 of her late husband’s possessions, helped her come to terms with his death, and how she has conflated traditional Jewish mourning with her own personal version.
Hugo McCloud. behind it all I stood tall, 2016. Aluminum foil, aluminum coating and oil paint on tar paper, 97 7/8 x 79 in (248.6 x 200.7 cm). © Hugo McCloud, courtesy: Sean Kelly, New York.
The emerging artist Hugo McCloud, whose layered abstract paintings concentrate on process and material, talks about his second solo show in New York.
Tom Roberts. A Break Away!, 1891. Oil on canvas, 137.3 x 167.8 cm. Art Gallery of South Australia, Adelaide. Elder Bequest Fund 1899. © Art Gallery of South Australia, Adelaide.
This exhibition highlights the paintings of four artists working at a crucial turning point in Australian history.
Richard Aldrich. Future Portrait #49, 2003. Acrylic on panel ,30.5 x 30.5 cm. © Richard Aldrich, 2003. Image courtesy of the Saatchi Gallery, London.
There is a quiet revolution happening in paint. But, paradoxically, Painters’ Painters seems out to prove otherwise.
Paul de Monchaux. Volute IV, 2016. Bronze, 68 x 72 x 72 cm (26.7 x 28.3 x 28.3 in), edition of seven.
In only his second solo show, the 82-year-old artist explores the potential of the column as a site for improvisation and movement.
Robert Rauschenberg. Monogram, 1955-59. Oil paint on taxidermied angora goat and rubber tire, on oil paint on paper, fabric printed paper, printed reproductions, metal, wood, rubber shoe heel, and tennis ball on canvas on wood platform mounted on four casters, 129 x 186 x 186 cm. Moderna Museet, Stockholm. Photograph: Martin Kennedy.
This exhibition, the first full-scale retrospective of Rauschenberg’s work since his death in 2008, takes us on a tour of a singly irrepressible spirit whose work knew no boundaries.
Tom McKinley. Morington Gardens House, 2016. Oil on panel, 43 x 77 in. Photograph: Jill Spalding.
Palpable relief that the sky was not falling in freed this year’s 78,000 fairgoers to act out Tom McKinley’s masterful triptych titled Complex Human Desires.
Sergei Eisenstein. Untitled, c1931. Coloured pencil on paper, 10.67 x 8.27 in (27.1 x 21 cm). Private collection. Courtesy Alexander Gray Associates, New York and Matthew Stephenson, London.
Known as a film-maker, Eisenstein also excelled at drawing. This exhibition presents a rare collection of his sexually explicit drawings that have never before been shown publicly.
Titus Kaphar. Destiny I, 2016. Oil on canvas, 56 x 44 in. © Titus Kaphar. Courtesy of the artist and Jack Shainman Gallery.
For his current exhibition at Jack Shainman Gallery in New York, Titus Kaphar looks to historical portraiture, and imagery from the criminal justice system in his examination of how history is recorded.
Maria Nepomuceno. Untitled, 2016. Ropes, beads, ceramic and braided straw, 200 x 100 x 90 cm (78 3/4 x 39 3/8 x 35 3/8 in). Courtesy the Artist and Victoria Miro, London. © Maria Nepomuceno.
The Brazilian artist talks about her fascination with hammocks, her novel way of amalgamating painting and sculpture, and the power of ancestral connections.
Susannah Stark. North East Wis-Dom, 2016. Installation view. Digital print, primed canvas, thread, foamboard, cotton, polystyrene, HD video, HD monitor, vinyl flooring.
The artists talks about cultural memories, Spolia, swamps and Icelandic necropants.
Carl Andre: Sculpture as Place, 1958–2010, exhibition view, Musée d’Art moderne de la Ville de Paris. © Pierre Antoine.
This tribute to the 20th-century US artist includes sculptures, poems, photographs and works on paper. The impression is of a single-path doggedly followed, but, for all that, his works are hard to ignore.
Mette Edvardsen performing Black in Madrid, 2016.
The dancer, choreographer and performer talks about memorising books and then retelling them, and exploring the possibilities and limits of language.
Kong Ning talking to Studio International in her Beijing studio, May 2016. Photograph: Martin Kennedy.
Multidisciplinary artist and environmental activist Kong Ning is based in Beijing. Born in Heilongjiang province in 1958, she studied law, but, deeply disturbed by the inequities of China’s judicial system and a fierce opponent of the death penalty, she decided to become an artist instead.
Peggy Franck: With no hands. Like a sea, 2016. Installation view, Arcade, London.
For her first exhibition at Arcade gallery in London, Peggy Franck has installed her paintings, photography and printed carpets, creating a layered installation like a stage set.
Roman Ondak, The Source of Art is in the Life of a People, installation view at the South London Gallery, 2016. Courtesy the artist, kurimanzutto. Photograph: Andy Keate.
In a show lasting 100 days and symbolising 100 years, the celebrated conceptual artist Roman Ondák explores ideas around history and the passage of time, as well as revealing hidden messages.
Fabienne Verdier in her studio, 2016, courtesy Waddington Custom.
Verdier explains her unique method of vertical painting, using a handmade brush with a large reserve of paint, capable of expressing her seemingly unstoppable flow of energy.
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