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The 1980s were a fertile time for black British artists to interrogate their experience of racial division, economic inequality and civil unrest, and The Place is Here resonates powerfully with today’s cultural and political zeitgeist
David Hockney. Peter Getting Out of Nick's Pool, 1966. Acrylic paint on canvas, 152 x 152 cm. National Museums Liverpool, Walker Art Gallery. Presented by Sir John Moores 1968. © David Hockney. Photograph: Richard Schmidt.
Celebrating 60 years of Hockney’s work, this exhibition charts the art of a modern great through decades of change.
Vera Möller. Prototopia, 2007. Mixed media, 66 x 68 x 68 cm.
The German-born artist explains why she first studied biology rather than art, how her scientific background informs her work, her love of the Great Barrier Reef, and why she is moving away from painting painstaking details of imaginary species.
Aleksandr Rodchenko. Pioneer with a Bugle, 1930. Gelatin silver print. 9 1/4 x 7 1/16 in (23.5 x 18 cm). The Museum of Modern Art, New York. Gift of the Rodchenko Family.
This exhibition of Russian art from the 1920s and 30s, based on MoMA’s own collection, is a heartening celebration of a period of remarkable creativity and development.
Laura Oldfield Ford. Savage Messiah, Leyton issue, 2006.
Oldfield Ford spends a lot of time walking through the capital’s streets and, from the fanzine she began in 2005 to her current exhibition, Alpha/Isis/Eden, her work is all about change, the rich pushing out the poor. The artist’s job, she says, is to make places uninhabitable for property developers.
John Baldessari. Miró and Life in General: Reliable, 2016. Varnished inkjet print on canvas with acrylic paint, 95 11/16 x 49 in.  No. 19348. © John Baldessari, courtesy of the artist and Marian Goodman Gallery. Photograph: Joshua White.
As he continues his late-career conversation with art history, the archetypical Californian conceptualist’s seemingly simple works open up a mire of ambiguity.
Jamie Crewe. Adulteress 2017. Video, excerpt of chapter 16 of Monsieur Venus: a Materialist Novel by Rachilde (1884), 22 min. Commissioned by Gasworks, courtesy the artist.
Seeking ancestry in a controversial and pornographic 19th-century French novel, this queer, transfeminine artist questions the problematic of rehabilitating a historical work of fiction from a contemporary standpoint.
One and Other, installation view, Zabludowicz Collection, London, 2016. Photograph: Tim Bowditch.
The Zabludowicz Collection sets the stage for a shrewd reflection on the real versus the created self in the modern age.
Ed Webb-Ingall. We Have Rather Been Invaded, 2016. Video still.
The video-maker talks about working with communities, his current work, We Have Rather Been Invaded, about section 28, which prohibited schools from promoting homosexuality – and the difference between being a parasite and a Trojan horse.
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.
Vanessa Bell. Self–Portrait, c1915. Oil on canvas laid on panel, 63.8 x 45.9 cm. Yale Center for British Art, Paul Mellon Fund. © The Estate of Vanessa Bell, courtesy of Henrietta Garnett.
While Vanessa Bell stands strong as an artist in her own right, her art can nevertheless not be separated from her life at the centre of the Bloomsbury Group.
Bouchra Khalili. Foreign Office, 2015 (still). Mixed media installation composed of one digital film, 15 photographs and a silkscreen print. Dimensions variable © Bouchra Khalili courtesy Lisson Gallery.
In her first solo UK exhibition, French-Moroccan artist Bouchra Khalili explores the fraught concepts of freedom, nationhood and displacement using film, video and silk-screen prints.
Hanne Darboven and Charlotte Posenenske, installation view, Konrad Fischer Galerie, Berlin, 2017.
Three exhibitions of conceptual art in Germany shed some light on the elusive genre. Taryn Simon’s Dresden show is an example of a type of contemporary conceptual art that relies on craft, material and concept, while two exhibitions in Berlin revisit early pioneers Hanne Darboven, Charlotte Posenenske and Ian Wilson.
Candida Powell-Williams talks to Studio International about her installation The Vernacular History of the Golden Rhubarb at Bosse & Baum, London, January 2017.
The artist shows us round her immersive installation, exploring the fetishism of anthropological objects.
TeamLab. Universe of Water Particles, Transcending Boundaries. Photograph courtesy teamLab © 2016 teamLab, courtesy Pace Gallery.
If there were a happiness index for exhibitions, then teamLab: Transcending Boundaries would score a solid 10 out of 10.
Linda Stupart. A Spell to Bind All-Male Conference Panels, 2016. Performance (with salt circle, projection, remote controlled candles, felt, myrrh, thread, Tupperware box). Arcadia Missa.
The writer, sculptor and performance artist talks about the power of crystals, witchcraft and using sci-fi as a tool to write queer time and imagine queer futures.
Sheida Soleimani. Maryam, 2016. Archival pigment print, 101.6 x 68.6 cm. Edition of 3 + 1 AP. © the artist.
Surrounded by her neon memorials to women killed in Iran, Soleimani discusses the state-sanctioned misogyny and human rights abuses there, and how she is trying to make people in the west aware of what is going on.
Rezi van Lankveld. Schelper, 2016. Oil on canvas, 66 x 58 cm (25.98 x 22.83 in). Courtesy of the artist and Petzel, New York.
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.
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.
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