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Irwin’s immersive installations, with their experimental approach to light and space lead the viewer to question their own phenomenological experiences
Curators Alexandra Kokoli (right) and Basia Śliwińska talk to Studio International about the exhibition Home Strike at I’étrangère in London, 8 March 2018. Photograph: Martin Kennedy.
Curators Kokoli and Śliwińska and artists Małgorzata Markiewicz and Su Richardson talk about the exhibition Home Strike at I’étrangère in London.
The Family in Disorder / A Família em Desordem, 2018. Shoelaces, matchboxes, smoke grenades, cotton bolts, black plastic sheeting, brown paper, bricks, masking tape, hook and loop fastener tape, chalk, stones, metal barrels, topsoil, gaffer tape, hemp rope, notebooks, chicken feathers, poplar wood batten, carpet. Cinthia Marcelle with the participation of Aline Tima, Aaron Head, Chris Jackson, Kamila Janska, Andy Owen and Sebastian Thomas. Courtesy the artist, Galeria Vermelho, Silvia Cintra + Box4 and Sprovieri Gallery.
In her first major UK solo exhibition, the Brazilian artist shows the importance of collective action in an exciting experiment in the occupation and transformation of publicly accessible space.
Paula Rego. The Family, 1988. Acrylic paint on canvas backed paper, 213.4 x 213.4 cm. Marlborough International Fine Art. © Paula Rego.
Tate Britain’s All Too Human explores family, sex and death, and offers a fantastic chance to explore what connects some of the biggest names of the past 100 years.
Sam Stewart: Cryptic. Installation view, courtesy of the artist and Fort Gansevoort, New York. Photograph: Lauren Coleman.
For his first solo exhibition, artist-designer Sam Stewart transforms an unoccupied space within a New York townhouse by imagining the life of its mythical occupant.
Mark Bradford at the Hirshhorn Museum and Sculpture Garden with details of Pickett’s Charge, 2017. Courtesy of the artist and Hauser & Wirth. Photograph: Cathy Carver.
Hankins, senior curator at the Hirshhorn museum, explains how a collaboration with Mark Bradford led to the artist’s monumental cyclorama Pickett’s Charge, and why the subject, the 1883 Battle of Gettysburg, still resonates today in the US.
Andy Holden and Peter Holden. Natural Selection. Installation view, Towner Gallery, 2018. Photograph: Pete Jones.
Andy Holden talks about his relationship with his father, the ornithologist Peter Holden, nature verses nurture, and sentimentality in the animal kingdom.
Giorgio Griffa. Tre colori, 1998. Acrylic on canvas, 86 x 109 cm. Courtesy Archivio Giorgio Griffa and Casey Kaplan, New York.
With references to the Fibonacci sequence and the golden ratio, Griffa’s paintings are works to puzzle out and ponder.
Lydia Ourahmane. In the Absence of our Mothers, 2018. Commissioned and produced by Chisenhale Gallery, London. Photograph: Andy Keate.
Lydia Ourahmane talks about her exhibition at the Chisenhale Gallery, allegiance, betrayal, drawing on her Algerian family history for her work, and why she nearly dropped out of art school  .
Kettle's Yard, Cambridge. New entrance. Fobert Architects © Hufton+Crow.
Jamie Fobert Architects’ new wing for Kettle’s Yard in Cambridge opened this month, doubling the education space and bringing its facilities bang up to date. How harmonious is the marriage of this incisive 21st-century building with the Georgian and modernist originals?.
Andrew Lacon. Fragments, 2017. Installation view, Dundee Contemporary Arts. Photograph: Ruth Clark.
Two exhibitions at Dundee Contemporary Arts confront and explore the relationships between the viewer, the art itself and the gallery space, in playful and thought-provoking ways.
Su Richardson talks about her work in the exhibition Home Strike at I’étrangère, London, March 2018. Photograph: Martin  Kennedy.
Su Richardson talks about her crocheted works, made in the 1970s, and also more recently constructed body parts “indicating bitter fantasies”.
Gerald Laing. Shout, 1965. Oil on canvas, 58 x 48 in (147 x 122 cm). Private collection, Minnesota. © The Estate of Gerald Laing.
Presenting Roy Lichtenstein, Sigmar Polke and Gerald Laing in dialogue with each other within the context of their pop-inspired pointillism, Source and Stimulus is a vibrant study of the origin of the Ben-Day dot in fine art.
Alge Julija Kavaliauskaite. Photograph: Finnish National Gallery, Petri Virtanen.
Kavaliauskaitė, originally from Lithuania but now living in Finland, talks about art and alchemy, haunted mansions, her latest exhibition and why she was drawn to live in Nuutajärvi, a village famous for its glass-blowing.
Cybernetic Serendipity: the computer and the arts. Edited by Jasia Reichardt. Published by Studio International (special issue), 1968.
Catherine Mason considers the ICA’s groundbreaking computer art exhibition of 1968 and looks at how it has shaped digital art in the 50 years since.
David Milne. Red, 1914. Milne Family Collection. Photograph: Michael Cullen, Toronto Canada. © The Estate of David Milne.
An exhibition of work by the Canadian painter David Milne charts his progression from depictions of New York city scenes to the battlefields of France and Belgium back to the rural US and Canada, influenced on the way by European painters such as Cézanne, Matisse and Brâncuși.
Ardent Soffici. Watermelon and Liqueurs, 1914. Mixed media and collage on card, 64.6 x 54 cm. Courtesy: Pinacoteca di Brera, Milan.
Teeming with hidden treasures, this exhibition is a compact survey of key movements and artists in Italian modern art in the early 20th century, a febrile moment in the country’s artistic and political history.
Zhang Enli. The Broken Sofa, 2017. Oil on canvas, 220 x 180 cm (86 5/8 x 70 7/8 in). © Zhang Enli. Courtesy the Artist and Hauser & Wirth.
The artist known for focusing on the poetic aspects of daily life talks about new approaches to painting as seen in his current series of works, which draws on gardens situated in the bustling urban environment of Shanghai.
Leah Schrager. Infinity Selfie, SFSM (Safe for Social Media) IIII, 2016 © The Artist.
This exhibition looks at how social media platforms and the digital manipulation of images are being used to reflect on the ideals of female bodies.
Tarsila do Amaral. City (The Street), 1929. Oil on canvas, 31 7/8 × 21 1/4 in (81 × 54 cm). Collection of Bolsa de Arte. © Tarsila do Amaral Licenciamentos.
As revealed by this tightly curated exhibition at New York’s Museum of Modern Art, Tarsila do Amaral, the latest artist to ride the current wave of Brazilian modernism, turns out to have invented it.
Camille Claudel. Torse de Clotho (Torso of Clotho), c1893. Plaster, 44.5 × 25 × 14 cm. © RMN-Grand Palais (Musée d'Orsay). Photograph: Martin Kennedy.
Her legacy has often been dwarfed by her biography – as Rodin’s student and lover, who spent 30 years in a psychiatric institution. But with a new museum in her name, and 11 of her works saved for the French nation, Camille Claudel is coming out of the shadows.
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