William Kentridge talks about his recent performance of Kurt Schwitters’ sound poem Ursonate, dadaists and interpreting the world.
The artist talks about her continuing connection with the sculptures of Barbara Hepworth, and how her interest in psychological trauma, and her own family history, has shaped her art.
Raven Row reopened with a major survey of Gianfranco Baruchello, a rambunctious and polymathic master of contemporary Italian art.
The artist talks about collaborating on a major new book about his career, the evolution of his work, and the impact of childhood on his practice.
What makes a portrait? What defines a person’s identity? These are questions at the core of Schilderman’s practice, and are questions she hopes to make her audience ask as well.
To coincide with the 50th anniversary of the artists’ meeting, we publish Gilbert & George’s Magazine Sculpture, first displayed in a black-and-white, censored version in Studio International’s May 1970 edition.
This exhibition considers abstract expressionism through its Asian-American practitioners, with a focus on Hawaii’s artists, as it brings them together with their US counterparts, such as Willem de Kooning, Mark Rothko and Jackson Pollock.
The French architect Jean Prouvé was a radical modernist whose graceful prefab buildings used cutting-edge techniques to further his socially progressive ideals. In an era of housing shortages and mass migration, his work is powerfully relevant – as this extraordinary exhibition demonstrates.
This first large-scale British retrospective of work by the US-based Russian installation artists Ilya Kabakov and his wife, Emilia, is powerful, vividly varied and thought-provoking.
Zarah Hussain (b1980, Cheshire, UK) places her work at “the intersection of science and spirituality”. She combines a lifelong fascination with – and extensive training in – hand-drawn Islamic geometry with the latest digital software to create hypnotic, looping animations made with code. Her work also encompasses apps, paintings and sculptures.
Herrera’s abstract, geometric paintings pulse with life in this solo show. She was discovered late – she sold her first painting in 2004, at the age of 89 – and her work has a concentrated intensity that speaks of many decades of quiet, unsung dedication.
The president of the Royal Scottish Academy discusses Ages of Wonder: Scotland’s Art 1540 to Now, an ambitious and exciting exhibition that was more than three years in the making.
The London-born, New York-based artist known for incorporating highly personal motifs, such as embroidered underwear, in her work, discusses feminism and the role women play within her art.
Vanessa Baird’s vivid, illustrative pastels depicting domestic chaos and drowning refugees make for an immersive experience in her new solo show, You Are Something Else, at Oslo’s Kunstnernes Hus. This and other new public commissions in Oslo indicate an artist coming into her prime.
Political activist and Pussy Riot member Maria Alyokhina talks to Studio International at the Saatchi Gallery about fighting government propaganda and the support the group receives from fellow artists.
From glass whoopee cushions to a vast US flag to cartoon characters, Colen’s works, which use everything from chewing gum to cigarette butts and plastic bottles, are ambitious in scale, colourful, bombastic and highly varied.
Photographer and film artist Stan Douglas talks about his new works, which extend his interest in historical moments of rupture to the 2011 London riots.
A superlative exhibition at the Hepworth Wakefield unpacks the fleshly and sticky oeuvre of forgotten postwar great Alina Szapocznikow.
Consummate storyteller Paula Rego brings her cast of mermaids and misfits to a town that seems forged from her own imagination.
Enchanted Nature: Deforestation and the Environment, on show in Beijing, is an exhibition of 61 drawings and 12 large-scale paintings by Latin-American artist Nicolás Herrera.
At the Danielle Arnaud gallery in London, Louisa Fairclough’s exhibition A Song Cycle for the Ruins of a Psychiatric Unit uses a derelict mental hospital as metaphor for the turmoil of psychological trauma.
Through her latest work, a multichannel video installation entitled Faith in friction that features Choksi and her friends, the artist considers how the self is necessarily formed through engagement with others.
In the mid-20s, a group of largely working-class men came together in the East End of London and began to paint under the tutelage of John Cooper, finding fame for their realistic depiction of urban life. After 80 years in the wilderness, two exhibitions aim to revive their reputation.
The latest in Mazzoleni’s series of exhibitions devoted to 20th-century Italian art enacts a vivid circular dialogue between select works by Giacomo Balla, Piero Dorazio and Gianfranco Zappettini.
An exhibition of works by a group of international artists, Future Shock looks at the profound impact of technological and social change on our present and our future.
This exhibition lacks coherence and has little to say about the influence British artists had on the French impressionists, but is redeemed by paintings of the Thames, the highlight of which are eight works by Claude Monet.
Studio International visited the Dulwich Picture Gallery to view the Finnish artist Tove Jansson’s first retrospective exhibition in the UK. She is well-known as the creator of the Moomins, but as this major retrospective makes clear, Jansson’s work encompasses many creative disciplines.
In Irish film artist Grace Weir’s latest exhibition, Unfolded, past and present, the real and representational repeatedly elide. Here, Weir talks about her work and about challenging notions of fixity in art, physics and philosophy.
London-based photographer Juno Calypso talks about femininity and disappointment in a man’s world.
The barren, dystopian landscapes of Kelly Richardson’s audiovisual installations are hypnotically beautiful, recalling sci-fi and Romanticism, and issuing a subtle call to arms over the catastrophic effects of climate change.