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This extraordinary retrospective unites Modigliani’s portraits and sculpture with the largest collection of his nude paintings ever shown together in the UK, as well as allowing visitors a virtual reality tour of the artist’s Paris studio

Amedeo Modigliani. Nude, 1917 (detail). Private collection.
Nnenna Okore. Photograph: Jonathan Greet.
Okore’s sculptures are poetic odes to the natural world. But beneath the delicate beauty there lies a pervading tension. She talks about how life and death in the natural world informs her practice.
Louisa Fairclough. A Rose, 2017. 1 x 16mm film looped (colour, silent, 9 min) projected onto a suspended acrylic screen, 1 x performance for a field recording pressed onto dubplate vinyl (20 min). Installation view: A Song cycle for the Ruins of a Psychiatric Unit, Danielle Arnaud Gallery, 2017. Photograph: Oskar Proctor. Courtesy the artist and Danielle Arnaud.
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.
Neha Choksi. Video still from Faith in friction, 2017. 7-channel 4K video installation transferred to HD, each channel with stereo sound, 36 min loop. Courtesy the artist and Project 88.
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.
Harold Steggles. St Mark’s Church, Victoria Park, 1934. Oil on board, 61 x 55 cm. Private collection, © the artist’s estate.
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.
Giacomo Balla (1871-1958). Tick Tack N. 40, c1929. Oil on canvas, 77 x 77 cm. Courtesy Mazzoleni.
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.
Doug Aitken. Migration (empire), 2008. Video installation with one channel of video (colour, sound), one projection, steel and PVC screen billboard sculpture, 24:28 minutes/loop, dimensions variable. Production still. Courtesy of the artist; 303 Gallery, New York; Galerie Eva Presenhuber, Zürich; Victoria Miro Gallery, London; and Regen Projects, Los Angeles.
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.
Claude Monet. Houses of Parliament, Sunlight Effect, 1903. Oil paint on canvas, 104.8 x 115.6 cm. Brooklyn Museum of Art.
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.
Tove Jansson. Self-Portrait, 1975. Oil, 65 x 47 cm. Private collection. Photograph: Finnish National Gallery / Yehia Eweis.
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.
Grace Weir. Credit Unfolded, Laure Genillard, 2017. Installation view.
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.
William Kentridge, Ursonate, 2017. St Thomas the Apostle Church, Harlem, New York. Courtesy of Performa. Photograph © Paula Court.
William Kentridge talks about his recent performance of Kurt Schwitters’ sound poem Ursonate, dadaists and interpreting the world.
Veronica Ryan at Yorkshire Sculpture Park. Photograph: Axisweb.
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.
Gianfranco Baruchello. Déserteur da la Légion (Deserter from the Legion), 1974. Mixed media, wood, glass, 50 x 70 x 16 cm. Courtesy Fondazione Baruchello, Rome.
Raven Row reopened with a major survey of Gianfranco Baruchello, a rambunctious and polymathic master of contemporary Italian art.
Antony Gormley. LAND SEA AND AIR II, 1982.Lead and fibreglass.  Land (crouching), 45 x 103 x 50 cm; Sea (standing), 191 x 50 x 32 cm; Air (kneeling), 118 x 69 x 52 cm. © the artist.
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.
Pamela Schilderman at work.
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.
George the Cunt and Gilbert the Shit, Magazine Sculpture, 1969. © Gilbert & George.
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.
Ruth Asawa (American, 1926‒2013). Untitled (S.540, Hanging, Seven-Lobed, Interlocking Continuous Form within a Form), c1958. Brass and copper wire. The Shidler Family Collection. Artwork © Estate of Ruth Asawa.
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.
Maison Démontable, BCC, 1941. Inside La Grande Halle.
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.
Ilya Kabakov. The Man Who Flew Into Space From His Apartment, 1985. Six poster panels with collage. Centre Georges Pompidou, Paris. © Ilya & Emilia Kabakov.
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 talking to Studio International, London, 17 October 2017. Photograph: Martin Kennedy.
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.
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