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Impressionists in London, French Artists in Exile (1870-1904)

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

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.
John Everett Millais. Mariana, 1851. Oil on mahogany, 59.7 × 49.5 cm. © Tate, London.
This wishy-washy exhibition is a lesson in tenuous connections.
David Hartt. Still from In the forest, 2017. 4K Digital Video File, colour, sound; 20 min. Courtesy of Corbett vs Dempsey and commissioned by the Graham Foundation for Advanced Studies in the Fine Arts.
In his filmic and photographic portraits of architect Moshe Safdie’s abandoned 1968 housing project Habitat Puerto Rico, David Hartt explores the relationship between site, ideology and environment, at a poignant moment for a country currently struggling with environmental and economic disaster.
Installation view: Art and China after 1989: Theater of the World. Solomon R. Guggenheim Museum, New York, October 6, 2017—January 7, 2018. Photograph: Jill Spalding.
The curatorial mission, to showcase the influence on artists and their practice of two distinct moments of political impact – the Tiananmen Square crackdown and the failed promise of the 2008 Beijing Olympics – upends our understanding of the modern Chinese aesthetic.
Gustav Klucis (Latvian 1895–1938). Vernem Ugol’nyi Dolg Strane (Let’s Repay our Coal Debt to the Country), 1931. Lithograph, 41 x 29 3/16 in. Published by Izogiz, Moscow. Edition: 20,000. Courtesy of Productive Arts, Bratenahl, Ohio.
The exhibition is unique as a form of intergenerational and intercultural dialogue. It brings together curatorial and artistic talent to initiate an inquiry into the legacy of the Russian revolution.
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.
Stan Douglas. Mare Street, 2017 (detail). C-print on dibond, print size 180 x 300 cm. © Stan Douglas. Courtesy the artist and Victoria Miro, London.
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.
Alina Szapocznikow with her work Naga (Naked), 1961. © ADAGP, Paris 2017 Courtesy of the Alina Szapocznikow Archive, Piotr Stanislawski and the National Museum in Krakow. Photograph: Marek Holzman, courtesy of the Museum of Modern Art, Warsaw.
A superlative exhibition at the Hepworth Wakefield unpacks the fleshly and sticky oeuvre of forgotten postwar great Alina Szapocznikow.
Paula Rego. Self Portrait III, 2007. Pastel on paper. Marlborough Fine Art, London.
Consummate storyteller Paula Rego brings her cast of mermaids and misfits to a town that seems forged from her own imagination.
Nicolás Herrera talking to Studio International at the Arthur M. Sackler Museum of Art and Archaeology at Peking University, September 2017. Photograph: Miguel Benavides.
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.
Yuri Pattison. context, collapse. Installation view, 2017. Courtesy the artist and mother’s tankstation limited, Dublin & London.
In the first exhibition at mother’s tankstation project’s new London gallery, Yuri Pattison’s context, collapse examines the world in which the office is everywhere and work transcends life.
Chaïm Soutine. Bellboy, c1925. Oil on canvas, 98 x 80.5 cm. Centre Georges Pompidou, Paris, Musee national dart moderne Centre de creation industrielle.
Chaïm Soutine, who inspired many of the 20th century’s greatest painters, brought the strange and macabre to Paris’s most elegant haunts.
Matthias Dörfelt.
The Los Angeles-based German digital artist talks about computer programs, his interest in bitcoin, his Donald Trump Twitterbot, and how software, coding and drawing form the pillars of his work.
Alex Katz. Crowd on Subway, c1940s. Pen, 4 7/8 x 7 7/8 in. © Alex Katz / DACS, London / VAGA, New York. Courtesy Timothy Taylor 16×34.
As his student subway drawings go on show alongside recent paintings and sculptures at Timothy Taylor, London, Alex Katz explains why he believes content to be unimportant, and what he means by seeking only to portray the ‘immediate presence’.
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.
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