logo studio international

Sunken Cities: Egypt’s Lost Worlds

Ongoing excavations of two rediscovered cities have shone light on a rich era in Egyptian history, and form the backbone of a fascinating exhibition

Colossal statue of god Hapy, Thonis-Heracleion, Aboukir Bay, Egypt. Photograph: Christoph Gerigk © Franck Goddio/Hilti Foundation.
György Kovásznai. Large Yellow Composition (detail), 1982. Oil on canvas, 150 x 300 cm. Photograph: Kovásznai Research Workshop.
The first UK retrospective of the work of the Hungarian artist, film-maker and animator displayed his extensive and eclectic range.
Robert Irwin in the studio working on an early line painting, 1962. © Marvin Silver/Courtesy of Marvin Silver and Craig Krull Gallery.
This exhibition looks at work the artist produced from 1958 to 1970, a time when he reconsidered the premise of art and art-making.
Ettore Spalletti. Presenza stanza, 1978/2016. Colour impasto on board, 200 x 200 x 4 cm.
His voice is singular, his pieces united in simplicity: painted columnar forms that point to classical structures, and monochromatic paintings that favour traditional Italian painting.
Georg Baselitz. A poor future (Eine schlechte Zukunft), 2015. Oil on canvas, 118 1/8 x 114 3/16 in (300 x 290 cm). © Georg Baselitz. Photograph © Jochen Littkemann. Courtesy White Cube.
This major exhibition, the artists first major solo show at White Cube, includes new large-scale paintings, sculpture and works on paper.
Yayoi Kusama’s The Moment of Regeneration, 2004.
There were dogs, a screaming blow-up baby and a real donkey, but there were also museum-quality installations and small joys to be had at the New York art fair’s fifth incarnation.
Sara Greenberger Rafferty. Top and Bottom, 2016. Acrylic polymer, inkjet prints and paper on acetate on Plexiglas, and hardware, 40 x 56 x 1/2 in (101.6 x 142.2 x 1.3 cm) irregular.
The multimedia artist talks about constructing the self through the language of clothing.
Dark side of the rings. This spectacular view looks down on Saturn’s northern regions, with its pole still in the darkness of the northern hemisphere winter. The rings cast a band of shadow across the gas giant world. Mosaic composite photograph. Cassini, 20 January 2007. NASA/JPL/Michael Benson, Kinetikon Pictures. Courtesy of Flowers Gallery.
Benson fuses art and science to conjure spectacular images from raw data collected by Nasa and ESA. Here he talks about science fiction, climate change and his exhibition at London’s Natural History Museum.
Martin Clark, Beatrice Gibson, Mark Fell and Steven Claydon. Art Sheffield, 2016. Photographs: Martin Kennedy.
For this citywide event, curator Martin Clark aims to inspire a connection between different parts of Sheffield in an event that revolves entirely around sound and video art. Studio International spoke to him and some of the artists involved.
Lawrence Lek. QE3, 2016.
The biennial festival returns for its seventh edition with more than 220 contemporary artists from all over the world. This ambitious collection includes new works, site-specific commissions and new venues throughout the city.
Lucy Jones. Sitting, 2015. Oil on canvas, 120 x 100 cm. © Lucy Jones, Courtesy of Flowers Gallery London and New York.
The artist talks about her recent return to making portraits of others, and explains what she sees as a balancing act between the tools that go to make up the language of a painting.
William Henry Fox Talbot. William Henry Fox Talbot and Nicolaas Henneman at the Reading establishment, 1846. © National Media Museum, Bradford / Science & Society Picture Library.
This exhibition tells the story of the birth of photography, exploring the vision of the Victorian inventor William Henry Fox Talbot, alongside those of his contemporaries in France, such as painter and set designer Louis-Jacques-Mandé Daguerre.
Elizabeth Price at her south-east London studio, 4 May 2016. Photograph: Martin Kennedy.
Studio International visited the artist in her studio in south-east London to talk to her about her work A Restoration, made for the Ashmolean Museum in Oxford.
David Claerbout. Black Elvis, 2015. Washed ink, felt pen and pencil on paper, 18 1/8 x 24 in (46 x 61 cm). © David Claerbout. Courtesy of the artist and Sean Kelly.
The artist talks about duration, place and history in his practice, and how he sees his way of working as archaeological research rather than a production process.
Martine Syms. Photograph: Christopher Horne.
The Los Angeles-based artist talks about semiotics, funkadelic Afrofuturism, and how to create a 90-minute feature-length film out of 180 30-second clips.
Gillian Wearing. © Gillian Wearing, courtesy Maureen Paley.
The artist talks about the ideas behind her latest film project, A Room With Your Views, which brings together footage from around the world and will be premiered at Brighton Festival.
Charles Richardson, Exeter Phoenix, 16 April 2016. Photograph: Martin Kennedy.
The artist talks about his show at Exeter Phoenix, collaborating with local artists, the importance of music in his work, and whether the physical informs the virtual, or the other way around.
Bosco Sodi, Blain Southern, London, 19 April 2016. Photograph: Martin Kennedy.
Bosco Sodi talks about the two processes in his work: the one where he is in control and the one where he lets go and waits for the surprise of the outcome.
François Morellet in his studio, Cholet. Courtesy The Mayor Gallery, London.
Two exhibitions, at London’s Mayor Gallery and Annely Juda Fine Art, mark the 90th birthday of one of the leading figures of postwar European art, who once described himself as the ‘monstrous son of Mondrian and Picabia’.
Hannes Koch of Random International talks about the collective’s latest project. Random International's studio, west London, 14 April 2016. Photograph: Martin Kennedy.
Hannes Koch of Random International talks about the collective’s latest project, producing a kinetic artwork consisting of 15 points of light, recognisable almost instantaneously as the human form.
Anonymous, Flemish. Satirical Diptych, 1520-30. Oil on wood, 58.8 x 44.2 x 6 cm. Université de Liège - Collections artistiques (galerie Wittert) © Collections artistiques de l’Université de Liège.
Paris is, as ever, a cauldron of art, but one breakout exhibition, expertly curated to challenge the old rules of staging, stirs the imagination, quickens the eye and gladdens the soul.
studio international logo
Copyright © 1893–2016 The Studio Trust.

The title Studio International is the property of
the Studio Trust and, together with the content,
are bound by copyright. All rights reserved.
studio international cover 1894
Home About Studio
Archive Yearbooks
Interviews Contributors
Video Contact us
twitter facebook RSS feed instagram

Studio International is published by:
Studio Trust, PO Box 1545, New York, NY
10021-0043, USA