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Tamar Ettun: ‘I am using the structure of a religious practice as a fold for my art-making’
The young Israeli-American sculptor talks about her Orthodox background, her beginnings in art, integration of sculpture and performance, and how art relates to her personal history.
Tamar Ettun: Alula in Blue, Fridman Gallery, New York City, until 24 October 2015.
YARAT: The Union of Fire and Water
The Union of Fire and Water presents a historical and cultural superimposition of Baku and Venice as seen through the eyes of two artists, Rashad Alakbarov and Almagul Menlibayeva. Studio International talked to the artists, alongside the curator Suad Garayeva, to hear more about the cities intertwined histories.
Palazzo Barbaro, San Marco, Venice, until 22 November 2015.
The Gap: Selected Abstract Art from Belgium
This group exhibition – curated by artist Luc Tuymans – brings together more than 40 works by 15 Belgian artists in an attempt to highlight the similarities and tensions between two different generations within Belgium.
Parasol Unit, London, until 6 December 2015.
Anita Glesta: ‘I would like this work to be a vehicle of communication – like a moving-image billboard’
The artist talks about the motivation behind her brightly coloured projection of frenzied fish on to the National Theatre as part of the Totally Thames festival.
Shani Rhys James: ‘I love the luxuriousness of a flower’s abstract shape’
The artist talks about her dramatic paintings, the significance of red and her own particular take on melancholia.
Connaught Brown, London, until 3 October 2015.
Petra Cortright: ‘I wanted to raise questions about the way we view women in a digital landscape’
The artist talks about moving from working on computers to painting, linking the two worlds to produce something physical translated from the digital, the importance of layering, surface, and light and making work out of computer errors or spam.
Chudamani Clowes: ‘I wanted to show immigration and migration in a positive light’
The artist talks about immigration, her personal connection to west London and the human tragedies that have inspired her most recent work.
Griffin Gallery, White City, London, until 2 October 2015.
The art behind the activist: Andrew Locke talks about Ai Weiwei
A rebel, an iconoclast and a playful symbolist – Ai Weiwei is all these things, but surely history will remember him as one of China’s most influential dissident artists. Curator Adrian Locke talks about Ai’s latest exhibition at the Royal Academy.
Royal Academy of Arts, London, until 13 December 2015.
This exhibition of contemporary artworks by more than 20 women artists reflects the changes in art practice in the 40 years since the Sex Discrimination Act was introduced in the UK.
Collyer Bristow Gallery, London, until 21 October 2015.
Judy Chicago: ‘I’ll leave it to others to change the world’
The artist talks about her career trajectory, the continuing need for feminist art, and the way in which she hopes to spend her remaining years.
Jonas Mekas: ‘I have a need to film small, almost invisible daily moments’
The legendary independent film-maker talks about avant garde, utopia, his latest projects, the importance of history and improvisation, and why he rarely films anything outside his close circle of friends.
Wilmer Wilson IV: ‘Moving between mediums is my way of remaining nimble’
The artist explains some of his performances, his interest in intervening in monuments in public spaces, why he uses detritus from the streets, and how he uses his body to push back against social and cultural control.
Jennifer Rubell: Not Alone
American artist Jennifer Rubell explores motherhood through a series of participatory works. Looking to break the established rules of the gallery, she encourages viewers to hold a baby, eat eggs – and even take their clothes off in the gallery.
Going Public: International Art Collectors in Sheffield
In a project looking at how philanthropic giving to arts and culture can become a social norm in every 21st-century city, some of Europe’s leading private collectors are showing works – from Jake and Dinos Chapman to Fiona Tan to Marcel Duchamp – across Sheffield.
Sheffield, until 12 December 2015.
Bridget Riley: Learning From Seurat
Through the works of Georges Seurat, Bridget Riley learned about colour. His The Bridge at Courbevoie provided ‘a true masterclass … the best tutorial I ever had’ and he has remained a touchstone for her.
Courtauld Gallery, London, until 17 January 2016.
Lowry by the Sea
This small gem of an exhibition comprising 17 pictures – oils on canvas and board; watercolour; felt tip and pencil drawings – showcases Lowry’s intense relationship with the ocean.
Jerwood Gallery, Hastings, until 1 November 2015.
Julie Sass: Be-Bop Your Visual Acts (Shared Space)
Danish artist Julie Sass presents a cohesive body of new work as part of Copenhagen Arts Week that signals complex, painterly explorations in abstract minimalism.
Third Space, Copenhagen, until 26 September 2015.
Jerusalem Season of Culture 2015
This is a festival that involves talks, tours, performance and events rather than simply art objects, and it takes places in a place that has been a conflict zone for millennia. This year, to its credit, it tried to address the city’s politics as well as its culture.
Zakkir Hussain and Rakhi Peswani
Two solo exhibitions featuring alumni from India’s premier art institute in Baroda throw up interesting questions about violence, self and the processes of survival.
Vadehra Gallery, New Delhi, until 5 October 2015.
Dineo Seshee Bopape: slow -co- ruption
For the artist’s first UK solo exhibition, she combines experimental video works and sculptural installations of found objects in order to explore sociopolitical notions of narration, memory and representation.
Hayward Gallery Project Space, London, until 27 September 2015.
Jackson Pollock’s Mural: Energy Made Visible
Mural, Pollock’s largest-ever painting, has been credited with breaking the ice for abstract expressionism. This exhibition explores the context in which it was produced and its effect on the contemporary art world.
Peggy Guggenheim Collection, Venice, until 16 November 2015.
Roman Signer: Installations
From kayaks filled with scotch to empty boots on a ladder, Signer has a lightness of touch and mischief that almost tips into menace. His art is lighthearted, but it is also thought-provoking and atmospheric while appearing almost throwaway.
Dundee Contemporary Arts, Scotland, until 20 September 2015.
Tadeusz Kantor: Inbetween Structures
As two exhibitions celebrate the centenary of the birth of Polish artist and theatre director Tadeusz Kantor, Richard Demarco, who first brought him to Britain and has ensured his legacy continues, talks about his work.

Natasha Kurchanova: #PhoenixLindsayHall's #Shepard @ChristopherStoutGallery in Williamsburg, Brooklyn http://christopherstoutgallery.com/

Anna McNay: #Pollock's #Mural will come to @royalacademy in 2016 for #AbstractExpressionism show http://www.studiointernational.com/index.php/jackson-pollocks-mural-energy-made-visible-review

Anna McNay: Bioartist @AnnaDumitriu will be @V_and_A this weekend http://www.vam.ac.uk/whatson/event/5566/digital-design-weekend-2015-1302807124/ #LDF15 #DigitalDesignWeekend

Natasha Kurchanova: #PLAY @MIcroscopeGallery in Brooklyn: #EmmaBeeBernstein, #AlexMcQuilkin, #EricaScourti, #JessieStead, #MickaleneThomas, #MarthaWilson: http://www.microscopegallery.com/

Natasha Kurchanova: Soulful exhibition by #TamarEttun @Fridman Gallery, New York City: http://www.fridmangallery.com/#!exhibitions/cm23.

The Drawn Word: ‘Even if I write my name I am drawing’

The Drawn Word. Published by Studio International and the Studio Trust, 2014. Cover image: Will McLean. “All writing is drawing/ Method of Investigations”.


This publication focuses on explaining the relationship between writing and drawing; the ideas raised at the symposium are expanded and clarified, with the inclusion of artists’ and academics’ contributions from sources as diverse as Oxford professor emeritus Martin Kemp – who has written on the Leicester Codex by Leonardo da Vinci and Professor Asa Briggs (a leading British historian and a key code-breaker at Bletchley Park during the second world war) – who discusses, “Drawing as Code”.

The Drawn Word is the product of a research project funded by an Arts and Humanities Research Council networking grant that explored the relationship between writing, drawing and literacy. As such it is a collaborative publication between Studio International, the University of the Arts London (UAL) and the Royal Melbourne Institute of Technology University (RMIT).

Editors: Professor Stephen Farthing RA and Dr Janet McKenzie
Publisher: Studio International and the Studio Trust, New York and London, 2014.
Content: 128 pages, full colour.
Language: English.
ISBN: 9780983259954 (Softcover).
Dimensions: 280 x 115 x 11 mm (11.0 x 8.7 x 7/16 in).
Price: UK £20, US $30, A $40.

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