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The artist weaves multiple narratives to evoke the complexity of East African society. Here, he talks about his exhibition The Chapel, at the South London Gallery, and how it gave him the chance to think about religion, spirituality and politics in a new way
Peter Welz. Architectural Device for a Passage | Spacial Division, 2018. Steel and bolts, 260 x 645 x 350 cm. Installation view.
Weaving a path in and out of Peter Welz’s awkward steel architectural intervention, the viewer comes up close and personal, in an unsettling way, with Michaela Zimmer’s layered canvases. Scratch the surface and there is far more to be told than at first meets the eye.
Anthony van Dyck. Charles I, 1635-6. Oil on canvas, 84.4 x 99.4 cm. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017.
The Royal Academy celebrates its 250th year with a collection of riches fit for a king – and every room is packed with drama.
Sadie Lee. Self Portrait, 2018. Oil on canvas, 121 x 91 cm. © the artist.
Curator Anna McNay has put together two exhibitions – Threesome, a collaboration between three female painters, and 3X3, photographic self-portraits by nine queer female artists – which explore the female gaze with the aim of ‘making people question how they feel looking at these works and how it makes them look at themselves’.
Paul Cézanne. The Artist's Son, 1881-2. Musée de l'Orangerie, Paris. Photograph © RMN-Grand Palais (Musée de l'Orangerie) / Franck Raux.
A deep humanity surfaces in this outstanding exhibition of more than 50 of Cézanne’s portraits.
Edmund Clarke talking to Studio International about his recent residency at the UK’s only wholly therapeutic prison, HMP Grendon. Photograph: Martin Kennedy.
Edmund Clark discusses his recent residency at the UK’s only wholly therapeutic prison, HMP Grendon; his time spent on Bagram Airfield in Afghanistan; and how intervention and censorship have become a part of his work.
Anne de Boer & ecksenis.net. System Attempt Contact. Photograph: Banner Repeater, 2017.
System Attempt Contact critiques the way today’s tech multinationals transcend the borders between global and local, city and suburb, on- and offline.
Torbjørn Rødland. Wordless No. 03, 2010, Courtesy the artist and Nils Staerk Gallery.
Secrets lurk in Rødland’s photographs, but in chasing the thrill of the secret, his images fall short of the desired effect.
Bharti Kher. The skin speaks a language not its own, 2006. Bindis on fibreglass, 300 x 173 x 116 cm. Courtesy the artist. Photograph: Pablo Bartholomew.
Kher talks about the difficulty of being identified as an ‘Indian’ artist, being a procrastinator, and making material things do things they don’t want to.
Peter Doig, Red Man (Sings Calypso), 2017. Oil on linen, 295 x 195 cm. Courtesy Michael Werner Gallery New York and London.
The Scottish painter’s latest works are as beautiful as ever, but exhibit a newfound looseness, playfulness and sense of violence.
Encountering the Buddha: Art and Practice Across Asia. Gallery view, Arthur M. Sackler Gallery at the Smithsonian Institution, Washington DC. Image courtesy of Freer | Sackler staff.
The curator talks about Encountering the Buddha: Art and Practice Across Asia, the current exhibition at the Arthur M Sackler Gallery at the Smithsonian Institution, which took three years to organise and brought together more than 200 objects spanning two millennia.
Simon Roberts. Battle of Britain Memorial Flight, Shoreham Air Show, West Sussex, 15 September 2007. Fujicolour crystal archive print. © the artist.
From the diamond jubilee to the ruins of Grenfell Tower, Simon Roberts captures the events that have defined the British experience of the past decade.
Stanley Cursiter. The Sensation of Crossing the Street – West End, Edinburgh, 1913. Oil on canvas, 51 x 61 cm. Private collection, courtesy Susannah Pollen Ltd. © Estate of Stanley Cursiter. All Rights Reserved, DACS 2017.
At a time when the UK’s relationship with the rest of Europe is at stake, this exhibition of the artistic dialogue between Scotland and the continent is illuminating and inspiring.
Marcus Coates. Apple Service Provider, 2017. Photograph: Andy Gott. © Marcus Coates.
With an extraordinary diversity of work, from medieval Korean ceramics to cutting-edge conceptual art to Women’s Institute tea towels, this show aims to dispel the myth of the rural as a picturesque backwater, and assert its right as a vital a place for cultural production.
Matthew Ritchie. The Temptation of the Diagram (detail), 2017. Courtesy the artist.
The inaugural exhibition at the Camberwell College of Arts’ new space is a sensitive, nuanced look at eight decades of a core artistic form.
Tabita Rezaire. Inner Fire: Inner Fire Bow Down, 2017. Disc print, 170 x 100 cm. © the artist.
Tabita Rezaire talks about ‘decolonial healing’, her response to cyber-racism and the distorted representation of black people on the internet, communication technologies from the spiritual world, and empowering artists to have self-respect.
John Michael Wright, Charles II, c1676. Oil on canvas, 281.9 x 239.2 cm. Royal Collection Trust © Her Majesty Queen Elizabeth II.
The Royal Collection’s exploration of the Merrie Monarch is a historical exhibition par excellence, presenting the king as a gateway to the art, culture and advances of the Restoration.
John Piper. Construction, 1934, reconstructed 1967. Oil paint, zinc, wood, glass and dowelling on canvas on plywood, 100.6 x 115.9 cm. Tate. Purchased 1968. © The Piper Estate.
A lopsided retrospective reveals an artist who thrived best when he was commissioned or working in collaboration.
Peter Hill at the opening of Geelong Art Prize 2016, with his painting In Advance of the Concept Painting, 2016, a tribute to Duchamp’s In Advance of the Broken Arm. 100 x 100 cm.
The artist talks about his creation of a fictional museum, his current lecture tour, Fake News + Superfictions, and the artists who have influenced him.
Sofia Stevi. set for play, 2017. Ink, acrylic, gouache on cotton, 200 x 140 cm. Courtesy The Breeder, Athens.
Greek artist Sofia Stevi’s paintings ooze confidence, sensuality and an improvisational spontaneity. Yet her flair and inventiveness with a paintbrush are something of a recent discovery – to Stevi as well as to the rest of us.
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