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Contemporary Chinese Works on Paper – A Review

A microcosm of Chinese art and social change at Ipswich town hall – this group show of works on paper by contemporary artists from China draws on, plays with and subverts the canons of art history from both the east and the west

Li Wang. Beauty Series 1-4, 2015 (detail). Chinese woodblock print with water-based colour, 32 x 20 cm.
Nigel Shafran. London 1994. From Works Books 1984 – 2018. © the artist, courtesy of Sion and Moore.
Newly established gallery project Sion and Moore combines the creative experiences of its two founders with the craft of designer Michael Marriott, achieving an intriguing environment in which to view Nigel Shafran’s tantalising Work Books.
Installation view, Jane Irish: Antipodes, courtesy of the artist, Lemon Hill and Philadelphia Contemporary.
For the first time in its 200-year history, a mansion in Philadelphia is transformed into a major public art project by American artist Jane Irish. She talks about a career spent exploring anti-war activism.
The Ol' Switcheroo, Performance, 2018, Sophie Jung (centre), Sarah Duffy (right), Rebecca Lennon (far right). Courtesy of the artists and Jupiter Woods.
This group exhibition, by the artists Rebecca Lennon, Sarah Duffy and Sophie Jung with curator Carolina Ongaro, is like a brimming basket of foraged goods, a container for ever-changing stories.
Chila Kumari Burman. Photograph: David George.
Burman talks about the inspirations for her intricate, multilayered works, including her latest commissions for the Science Museum and an exhibition honouring suffragettes – and why she bought a tuk-tuk.
D*Face. Love Struck. Enamel and pigment-based paint on canvas. Photograph: Jill Spalding.
Leading the pack of satellite fairs crowding contemporary art week, Frieze, revamped under a new director, and Tefaf Spring quelled art market jitters with safe material and brisk sales.
Rodin in his Museum of Antiquities at Meudon on the outskirts of Paris, about 1910. Photograph: Albert Harlingue. Image © Musée Rodin.
Come to the British Museum to eavesdrop on a conversation across the millennia between Auguste Rodin and Pheidias, his mentor from the fifth century BC.
Neil Gall. The Studio, Spoleto, 2017. Collage. © the artist.
For his current show at the Henry Moore Institute, Gall has played around with old copies of The Studio magazine to make new cover versions. He talks about how he came across the old issues and what they mean to him and explains a little about his practice.
John Russell. Telepath, 2018. Installation view, The Gallery of Modern Art at Royal Exchange Square. Photograph: David Gibson.
The largest festival for contemporary visual art in Scotland, the eighth Glasgow International, under the directorship of Richard Parry, has a plethora of exciting work. Below is a roundup of what’s on offer.
David Shrigley talking to Studio International at the opening of Life Model II, Fabrica, Brighton, 13 April 2018. Photograph: Martin Kennedy.
David Shrigley talks about his large-scale installation Life Model II at Fabrica Gallery in Brighton, part of the Brighton Festival for which he is this year’s guest director.
Emil Nolde. Self-portrait, 1917. Selbstbild, 1917. Oil on plywood, 83.5 x 65 cm. © Nolde Stiftung Seebüll.
With a riot of vibrant colours, German expressionist painter and printmaker Emil Nolde brings to life flowers and gardens, dancers and cabaret singers, and people of all different types and races.
Eugène Delacroix. Greece on the Ruins of Missolonghi, 1826. Oil on canvas, 209 x 147 cm. Musée des Beaux-Arts, Bordeaux © Musée des Beaux-Arts, ville de Bordeaux. Cliché L . Gauthier, F . Deval.13
A colossal retrospective at the Louvre liberates the French romantic from his early history painting and reaffirms his lofty place in the pantheon.
Harriet Middleton-Baker. Photograph: Naomi Shimada.
The artist talks about unpicking the story of William Hogarth’s A Harlot’s Progress and using her latest opera to explore architectural form, power distribution and the ambivalence of feminism in a corporate climate.
Ettore Spalletti. Courtesy of the artist and Galerie Marian Goodman Paris.
On the opening of his exhibition at the Galerie Marian Goodman, the Italian artist recounts his ritualistic process, the elusiveness of colour and why paintings should be like churches.
Pierre Dubreuil. Interpretation Picasso: The Railway, c1911. Photograph, gelatin silver print on paper, 23.8 x 19.4 cm. Centre Pompidou, Paris Musée national d'art moderne-Centre de création industrielle.
Shape of Light is an exhibition for die-hard art photography enthusiasts. The rest of us will struggle.
Henk Visch’s sculpture Das Kino, part of the public programme, Art Brussels 2018. Photograph: David Plas.
The annual art fair, which this year celebrated it’s 50th anniversary, impressed with its congenial atmosphere, international purview and keenness on curation.
Cedric Morris, c1930 by Sir Cedric Morris. Oil on canvas. © National Portrait Gallery, London. Courtesy the Cedric Morris Estate.
Three exhibitions capture a slice of 20th-century bohemia with portraits of people, places and, most vividly, flowers, by the award-winning artist-plantsman Cedric Morris.
Zuzanna Czebatul. Higher Than the Sun, 2018. Installation view, Koelnmesse trade centre, Art Cologne.
The artist talks about tigers, tarot cards, the vast carpet she made for this year’s Art Cologne and what it means to be the hired critic.
Sanja Iveković. Lady Rosa of Luxemborg, 2001. Sculpture gilded polyester, wood, inkjet print, installation view at the 38th EVA International 2018. Photograph: Deirdre Power, courtesy of the artist.
The curator of this year’s EVA International, Ireland’s biennial, talks about how the country’s history and heritage and, in particular, the forthcoming referendum on abortion have shaped his thinking behind the event.
Mariele Neudecker. There is Always Something More Important, 2012.
Fibreglass, spray, plywood, 2-channel video, two 10.2 inches monitors, 207 x 65 x 440 cm. © Bruno Lopes.
Bristol based artist Mariele Neudecker talks about how Cern inspires her, why you shouldn’t call her a climate change artist and why flight recorders are like the human soul.
Cherry Pickles. Self-Portrait as William S Burroughs, 2014. Oil on canvas, 100 x 80 cm.
The title of the exhibition comes from a statement made in 2013 by Georg Baselitz, the German artist who sometimes hangs his large canvases upside down.
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