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Etel Adnan

In a bold juxtaposition with works by Paul Klee, the oil paintings, poems, carpets and tapestries of Etel Adnan reflect the qualities she shares with the painter who inspired her – an intense, visceral response to colour and a preoccupation with war, loss and displacement

Etel Adnan. Copyright Etel Adnan, courtesy Galerie Lelong & Co. Paris.
Shelley Himmelstein: Soccerscapes – FIFA World Cup Series; Michael Sorgatz: Kaleidoscope Dreams. Installation view. Photograph courtesy of Figureworks Gallery.
Gallery director Randall Harris explains how this double show came about, while Himmelstein talks about how she captures the movement and energy of the players and the excitement of fans in her soccerscapes and Sorgatz discusses his mesmerising dreamscapes.
Ruimteveldwerk: twin brothers Brecht and Sander van Duppen, Pieter Brosens and Pieter Cloeckaert.
A social experiment investigating themes of being offline, privacy, and silence in the city brings about surprising results in Bruge’s Saint Trudo almshouses as part of this year’s triennial.
Joana Vasconcelos speaking to Studio International at the opening of I’m Your Mirror, Guggenheim Bilbao, 28 June 2018. Photograph: Martin Kennedy.
Joana Vasconcelos has filled the Guggenheim Bilbao with work from the past 20 years. She talks about craft, the importance (or otherwise) of scale, and how she seeks to expose and explode the myths and realities around female experience.
Justin Ponmany's performance, Anthroprocenium, 2018. Image courtesy Yinchuan Biennale.
There are some strong individual showings at the biennale, but its curatorial framework is a mystery and, despite its title and location outside a vastly expanding city on the edge of the Gobi desert, it shows nothing that is critical of China’s environmental policy, state censorship or treatment of workers.
Katharina Sieverding. Photograph: Kristian Vistrup Madsen.
Part of the collateral programme of this year’s Manifesta Biennial in Palermo is a career-spanning solo exhibition by the Czech-born, German artist. Here, Sieverding talks selfies, fascism and fake news.
Alberto Giacometti. Monumental Head, 1960. Plaster, 39 9/16 x 12 1/2 x 16 15/16 inches (100.5 x 31.7 x 43.1 cm). Fondation Giacometti, Paris.
This thoughtful and revealing survey of an artist the Guggenheim exhibited in 1955 with Giacometti’s first-ever museum show and the museum’s first large-scale sculpture show focuses on rarely seen works in plaster to illuminate the genius of a mastery laid out here as process.
Alex Mirutziu, Between too soon and too late, 2018. Installation view, Delfina Foundation, London. Photograph: Tim Bowditch. Courtesy Delfina Foundation and European ArtEast Foundation.
The Romanian artist talks about his latest exhibition, examining the life and work of Iris Murdoch, and discusses the biomechanics of writing, necrophilia and the novelist’s teddy bear.
Helen Beard, Sadie Laska and Boo Saville talking to Studio International at their exhibition True Colours at Newport Street Gallery, London, 12 June 2018. Photograph: Martin Kennedy.
True Colours, curated by Damien Hirst for his Newport Street Gallery in London, shows works by Helen Beard, Sadie Laska and Boo Saville. We talked to the three artists about the works they have in the show.
Helen Beard talking to Studio International at Newport Street Gallery, London, 12 June 2018. Photograph: Martin Kennedy.
Helen Beard’s striking and marvellously simplified, flat colour images, take you by surprise in a number of ways. The fresh colour forms pack a satisfying punch even before the viewer has undergone the gradual realisation that the paintings portray a varied range of sexual acts.
Catherine Parsonage. Suddenly Every Wednesday, 2017. Acrylic on canvas, 122 x 183 cm. © the artist.
The artist talks about how living in Rome has changed her work, why she is so interested in bodily fluids, and the role that alcohol and desire play in her painting.
Patrick Heron. Big Complex Diagonal with Emerald and Reds : March 1972 - September 1974, 1974. Oil paint on canvas. © Estate of Patrick Heron. All Rights Reserved, DACS 2018.
Patrick Heron’s postwar abstraction places figure and ground on an equal footing and exploits the all-important edge between forms and colours to create intense expressions of musicality and emotion.
Leonid Lamm. Beat the Flat Red Squares with Cylinders (Dynamics of Perspective), 1955-56.  Oil on canvas, 61 x 76.5 cm. Norton and Nancy Dodge Collection of Nonconformist Art from the Soviet Union at the Zimmerli Art Museum at Rutgers University.
This retrospective of the artist, who died last year, shows the brilliance, courage and impeccable work ethic that made Lamm such an important figure in postwar Russian and American art.
John Powers with his grandmother in front of Terminal, 2004. Image courtesy John Powers.
Responding to the history of the city of Bruges, John Powers’ 15-metre-tall steel tower was constructed in situ for this year’s triennial and references long-neck swans and a medieval beheading.
Tacita Dean. A Bag of Air, 1995. Installation view, At Altitude, 2018, Towner Art Gallery, Eastbourne. Photograph: Rob Harris.
With its focus on the aerial image, At Altitude puts our terrestrial world into perspective with a broad range of works. It’s intriguing but, somehow, it misses the mark.
Theaster Gates. From the archives of the Johnson Publishing Company. Photograph: Moneta Sleet, courtesy of Theaster Gates.
Gates hopes to challenge and confront the prevailing European narratives of racial and religious authority by reclaiming the power of print as a medium for black emancipation.
Lizzie Siddal. The Haunted Wood, 1856. Gouache on paper.
Best known as Millais’ Ophelia, Lizzie Siddal was a Pre-Raphaelite artist and poet in her own right. She died young, with no particularly established reputation, and this small exhibition is only the second entirely in her honour.
Grayson Perry speaking to the press at the opening of the Royal Academy of Arts 250th Summer Exhibition. Photograph: Martin Kennedy.
Grayson Perry’s eclectic, irreverent approach in coordinating the 250th-anniversary exhibition plays to its strengths. With the works of hundreds of amateur artists alongside those of professionals and the Royal Academicians, it is a far more insightful and accurate reflection of the issues, opinions and talents operating under the banner of ‘art’ in contemporary Britain.
Boo Saville talking to Studio International at Newport Street Gallery, London, 12 June 2018. Photograph: Martin Kennedy.
Boo Saville’s fields of colour shimmer, each massive painting drawing you in and, once you are up close, their surfaces seem to conjure immersive spaces, as though the air has suddenly been coloured and there is space to fall in. Such a physical and emotional impact is reminiscent of Rothko’s Chapel in Houston, where his 14 black and coloured hue paintings cover the internal space.
Thomas Cole. The Course of Empire: The Pastoral or Arcadian State, c1834. Oil on canvas, 99.7 × 160.6 cm. Courtesy of the New-York Historical Society. © Collection of The New-York Historical Society, New York / Digital image created by Oppenheimer Editions.
A fresh look at the paintings of British émigré Thomas Cole reveals some eerily relevant messages for our current times.
Eve Fowler. Photograph: Steven Perilloux.
The artist talks about her latest exhibition, What a slight, what a sound, what a universal shudder, at Dundee Arts Contemporary, and what has led her to engage so closely with Stein’s work.
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