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Nathalie Du Pasquier. Con la foglia di magnolia, 2005-2006 (detail). Courtesy of Kunsthalle Wien and the Institute of Contemporary Art at the University of Pennsylvania.
Wang Du. Psychiatrie et Cardiologie, 2016. Installation view, EXPO Chicago, 2017.
An ambitious Expo Chicago showed positive signs of a refined personality, an adventurous pioneering of emerging galleries and artists, as well as an exciting off-site collaboration with Palais de Tokyo.
Jake & Dinos Chapman. The Disasters of War on Terror, 2017. Courtesy the artists and Blain|Southern. Photograph: Prudence Cuming Associates.
Among the casts of suicide vests, it is the Chapman brothers’ reworked etchings of Goya that hold the interest, drawing us in to view more closely the horrors of war.
Martin Puryear. Big Phrygian, 2010-2014. Painted red cedar, 147.3 x 101.6 x 193 cm (58 x 40 x 76 in). Glenstone Museum, Potomac, MD. Photograph: Ron Amstutz.© Martin Puryear, courtesy Matthew Marks Gallery.
This retrospective is nicely paced to reflect the breadth and depth in Martin Puryear’s sculptures, which draw you in with their physical and aesthetic seductions, all the better to unsettle and undermine you with the slow reveal of their ambiguities.
Installation view of Thomas Schütte at Frith Street Gallery, London, 2017. Courtesy the artist and Frith Street Gallery. Photograph: Steve White.
Mixing familiar Schütte tropes with new ones, the great German sculptor’s first London show in five years parades his eclectic, disconcerting talents.
James Richards talking to Studio International at Music for the gift, Wales in Venice 2017. Photograph: Martin Kennedy.
Wales has always punched above its weight at the Biennale, and 2017 is no exception. This year – for its eighth successive appearance - the selected artist is James Richards, a multimedia artist whose work combines layers or fragments of video, sound and still images to reveal ‘the possibility of the personal amid the chaos of mass media’.
Robert Longo. Untitled (Election Day 2016), 2017. Charcoal on mounted paper, 152.4 x 109.9 cm. Courtesy Galerie Thaddaeus Ropac London · Paris · Salzburg. Photograph: Artist Studio.
At his first solo exhibition in London, New York artist Robert Longo talks about charcoal, photography, violence and Donald Trump.
Portrait of Lucas Arruda. Courtesy Mendes Wood DM, São Paulo/Brussels and David Zwirner, London.
On the occasion of his first London exhibition, at David Zwirner, Lucas Arruda discusses his almost pathological pursuit of a particular theme, revealing the macro within the micro, and how his imaginary landscapes are states of mind suspended in paint.
The Inverted Portal (2016) by Ensamble Studio (Antón García-Abril and Débora Mesa) at Tippet Rise. Image courtesy of Tippet Rise Art Center/Iwan Baan. Photograph: Iwan Baan.
Cathy and Peter Halstead talk about Tippet Rise Art Center, the remarkable music venue and sculpture park they set up on a vast ranch in the wilds of Montana, and their desire to create a place with the potential for a deep relationship with art, music and the land.
Jonathan Wright talking to Studio International at the Folkestone Triennial 2017. Photograph: Martin Kennedy.
Local artist Jonathan Wright delved deep into local narratives to devise his tribute to the local fishing community, Fleet on Foot. Studio International discusses the origins of this celebration of the town's remaining fishing fleet.
Gustav Klimt. Sitzender weiblicher Halbakt, 1904. Leopold Museum, Vienna. Reproduced in: Die Hetärengespräche des Lukian.
Bringing together works by Gustav Klimt with pottery, sculptures and texts from late classical antiquity, this insightful exhibition charts the influence of the ancient Attic artists on the Austrian secessionist, in particular in providing material for the development of his erotic drawings.
Louise Bourgeois at the printing press in the lower level of her home/studio on 20th Street, New York, 1995. Photograph by and © Mathias Johansson.
MoMA’s expertly curated exhibition of Bourgeois’ prints rescue the artist from her legend, revealing her drawings to have incubated, formulated and unleashed the emotions that would be entrapped in the fame of her sculpture.
Zach Blas, Contra-Internet, 2017. Installation view. Commissioned by Gasworks; Art in General, New York; and MU, Eindhoven. Courtesy of the artist. Photograph: Andy Keate.
Zach Blas searches for a future beyond the internet’s catch-all web at the artist’s Gasworks exhibition Contra-Internet.
Jacques Mahé de la Villeglé. Jazzmen, 1961. Torn papers mounted on canvas, 217 x 177 cm. Installation view. Photograph: Jill Spalding.
At the risk of exposing the theme show as a curatorial conceit, this selection of work produced in the years opened to exploration and exclamation by war, drugs and social conflict reveals a new way of seeing it.
Käthe Kollwitz. Die Carmagnole, 1901. Etching and drypoint. © The Trustees of the British Museum.
Celebrated in her native Germany, Käthe Kollwitz, born 150 years ago this year, is sadly little known in the UK, but this well-selected touring exhibition of nearly 40 of her prints seeks to put this oversight to rights.
LIKE AN IGNORANT EASTER SUIT, Jean-Michel Basquiat on the set of Downtown 81.
© New York Beat Film LLC. By permission of The Estate of Jean-Michel Basquiat. Photograph: Edo Bertoglio.
A revelatory exhibition at the Barbican liberates Jean-Michel Basquiat from his mythos and allows his art to speak for itself.
Kate Cooper. Rigged, 2015, light boxes, wallpaper, videos. Courtesy of the artist.
Nine contemporary artists ask what has become of reality and physicality in the age of the virtual – and imagine human existence in a digital future.
José Pedro Croft talking to Studio International at the opening of Uncertain Measure at the Portuguese Pavilion, Villa Hériot, Giudecca, Venice 2017. Photograph: Martin Kennedy.
For his Portugal Venice Biennale commission, artist José Pedro Croft has made a series of six glass-and-steel sculptures that lurch and loom around the gardens of Villa Hériot, on the Giudecca. He talks about the uniquely Venetian dialogue between precariousness and permanence, as well as the monumentality and simplicity of a nearby Álvaro Siza project, both of which have inspired his project, Uncertain Measure.
Shilpa Gupta. Untitled, 2001. Instruction manual in vitrine, cloth pieces stained with menstrual blood, two videos on monitors. Video II: Three pyjamas hanging in the sun to dry, 3:00 mins loop.
The Mumbai-based artist Shilpa Gupta talks about her practice, notions of identity and nation states, and how she prefers her work to be called ‘everyday art’ rather than terming it political.
Emily Peasgood talking to Studio International at the Folkestone Triennial 2017. Photograph: Martin Kennedy.
Emily Peasgood’s sound piece Halfway to Heaven is set in a Baptist graveyard, a high hump of soil, weeds and tumbling headstones wedged between a road and a terrace of houses. Studio International talked to her about its inspiration and meaning.
Gerfried Stocker, Artistic Director Ars Electronica. Photograph: Ars Electronica / Robert Bauernhansl.
Gerfried Stocker talks about going from being a media artist influenced by Ars Electronica to becoming its artistic director and the mind behind its organisation.
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