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After a summer of double Documentas, the Moldovan artist Pavel Brăila is now included in the second edition of the Art Encounters Biennial in Timișoara, Romania. Here, he talks about how his home region has inspired his work
Monica Bonvicini. Passing, 2017 (detail). Site specific installation. Courtesy the artist and König Galerie, Berlin; Galerie Peter Kilchmann, Zürich; Galleria Raffaella Cortese, Mailand/Milan. © Monica Bonvicini and VG Bild-Kunst. Photograph: Jens Ziehe.
In her latest exhibition, the rather unwieldy title of which refers to the volume of space in the gallery vs that of the artist, Monica Bonvicini employs her large installations to consider notions of power, domination and control.
Idris Khan. Installation view, Idris Khan: Absorbing Light, Victoria Miro Gallery II, London, 2017. © Idris Khan. Courtesy the artist and Victoria Miro, London.
Reflections on the horrors of one of Syria’s most famous prisons have driven Idris Khan to new forms of expression, including bronze sculptures and abstract painting.
Louise Bourgeois at the printing press in the lower level of her home/studio on 20th Street, New York, 1995. Photograph by and © Mathias Johansson.
MoMA’s expertly curated exhibition of Bourgeois’ prints rescue the artist from her legend, revealing her drawings to have incubated, formulated and unleashed the emotions that would be entrapped in the fame of her sculpture.
Zach Blas, Contra-Internet, 2017. Installation view. Commissioned by Gasworks; Art in General, New York; and MU, Eindhoven. Courtesy of the artist. Photograph: Andy Keate.
Zach Blas searches for a future beyond the internet’s catch-all web at the artist’s Gasworks exhibition Contra-Internet.
Jacques Mahé de la Villeglé. Jazzmen, 1961. Torn papers mounted on canvas, 217 x 177 cm. Installation view. Photograph: Jill Spalding.
At the risk of exposing the theme show as a curatorial conceit, this selection of work produced in the years opened to exploration and exclamation by war, drugs and social conflict reveals a new way of seeing it.
Käthe Kollwitz. Die Carmagnole, 1901. Etching and drypoint. © The Trustees of the British Museum.
Celebrated in her native Germany, Käthe Kollwitz, born 150 years ago this year, is sadly little known in the UK, but this well-selected touring exhibition of nearly 40 of her prints seeks to put this oversight to rights.
LIKE AN IGNORANT EASTER SUIT, Jean-Michel Basquiat on the set of Downtown 81.
© New York Beat Film LLC. By permission of The Estate of Jean-Michel Basquiat. Photograph: Edo Bertoglio.
A revelatory exhibition at the Barbican liberates Jean-Michel Basquiat from his mythos and allows his art to speak for itself.
Kate Cooper. Rigged, 2015, light boxes, wallpaper, videos. Courtesy of the artist.
Nine contemporary artists ask what has become of reality and physicality in the age of the virtual – and imagine human existence in a digital future.
José Pedro Croft talking to Studio International at the opening of Uncertain Measure at the Portuguese Pavilion, Villa Hériot, Giudecca, Venice 2017. Photograph: Martin Kennedy.
For his Portugal Venice Biennale commission, artist José Pedro Croft has made a series of six glass-and-steel sculptures that lurch and loom around the gardens of Villa Hériot, on the Giudecca. He talks about the uniquely Venetian dialogue between precariousness and permanence, as well as the monumentality and simplicity of a nearby Álvaro Siza project, both of which have inspired his project, Uncertain Measure.
Shilpa Gupta. Untitled, 2001. Instruction manual in vitrine, cloth pieces stained with menstrual blood, two videos on monitors. Video II: Three pyjamas hanging in the sun to dry, 3:00 mins loop.
The Mumbai-based artist Shilpa Gupta talks about her practice, notions of identity and nation states, and how she prefers her work to be called ‘everyday art’ rather than terming it political.
Cai Guo-Qiang. Photograph: Jeff Fusco Photography courtesy Association for Public Art.
Philadelphia’s most illustrious thoroughfare celebrated its 100th anniversary with a spectacular and enchanting live performance from Cai Guo-Qiang.
Nathalie Du Pasquier. Con la foglia di magnolia, 2005-2006. Oil on canvas, 200 x 250 cm. Courtesy of Kunsthalle Wien and the Institute of Contemporary Art at the University of Pennsylvania.
In her first comprehensive survey in the US, the artist and designer reveals a diverse and colourful practice that started with legendary design collective Memphis. Here, she talks about the show and moving from design to painting.
Jenny Holzer. On War, 2017. Text: A Scream From Underground, from Building The Barricade by Anna Swirszczynska, translated by Piotr Florczyk. Translation copyright © 2016. Published by Tavern Books. Used by permission of Ludmila Adamska-Orłowska and the translator. © 2017 Jenny Holzer, member Artists Rights Society (ARS), NY. Photograph: Samuel Keyte.
In her current exhibition at Blenheim Palace, Holzer responds to the building’s military history with more than 50 works examining the brutality of war.
Christopher Wool. Head, 1992. Enamel on aluminium, 274 x 183 cm (107.8 x 72 in). Courtesy Astrup Fearnley Collection, Oslo, Norway.
This exhibition is a lively collection of works from a group of impressive and challenging artists, which together tell a powerful story of the social ills affecting the US from the Nixon years to the turn of the century.
Katriona Beales. Material, 2017. Digital print, display case and sculptures, dimensions variable. Photograph: Pau Ros.
Following the opening of Are We All Addicts Now? at London’s Furtherfield, Katriona Beales, the exhibition’s lead artist, talks about the digital power to seduce and coerce.
John Hoyland. 20.4.66, 1966. Acrylic on canvas, 229.5 cm x 304.8 cm (90 3/8 x 120 in). © The John Hoyland Estate. All rights reserved, DACS 2017. Photograph: Colin Mills,
courtesy of Pace Gallery.
This, the first New York exhibition of John Hoyland’s work in 25 years, brings together seven of his monumental stain paintings along with works on paper. Don’t miss it.
Sara Barker. Camp coffee and communication errors, 2016. Aluminium sheet, aluminium rod, automotive paint, perspex, 213 x 130 x 35 cm (83 7/8 x 51 1/8 x 13 3/4 in). Image courtesy the artist; Mary Mary, Glasgow. Photograph: Max Slaven.
Sara Barker’s exhibition of five wall-based relief sculptures, which opens Mary Mary’s new space in Glasgow city centre, continues her trademark fusion of sculpture and painting, abstraction and figuration, history and the present.
Ross Birrell. Criollo, 2017. Film still. Image credit: John Engstrom. Courtesy the artist and Ellen de Bruijne Projects.
Ross Birrell talks horses, endurance and taking risks in relation to two works for Documenta, his film Criollo and The Athens-Kassel Ride: The Transit of Hermes, a procession of horses and riders on a 1,850-mile journey, which he describes as a ‘mobile human-equine ensemble’.
Bethlem Gallery, with cardboard sculpture by Mr X in the foreground, 1 September 2017. Photograph: Ed Watts, courtesy Bethlem Gallery.
In the grounds of the UK’s first hospital to treat people with mental illness, lie a fascinating museum and gallery. To celebrate its 20th anniversary, the Bethlem Gallery is holding an exhibition of work by those, including Grayson Perry, who have been touched by mental illness.
Lubaina Himid. Jelly Mould Pavilions Project, Folkestone Triennial, 2017. Photograph: Martin Kennedy.
The fourth triennial outing for this slowly regenerating UK seaside town sees curator Lewis Biggs invite a multicultural cast of artists, architects and activists to bring their sonic, sculptural, performative and visual talents to bear in revealing new perspectives on Folkestone, its identity and its potential. Studio International talked to some of the artists and organisers involved.
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