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In her latest exhibition, the rather unwieldy title of which refers to the volume of space in the gallery vs that of the artist, Monica Bonvicini employs her large installations to consider notions of power, domination and control
Cai Guo-Qiang. Photograph: Jeff Fusco Photography courtesy Association for Public Art.
Philadelphia’s most illustrious thoroughfare celebrated its 100th anniversary with a spectacular and enchanting live performance from Cai Guo-Qiang.
Nathalie Du Pasquier. Con la foglia di magnolia, 2005-2006. Oil on canvas, 200 x 250 cm. Courtesy of Kunsthalle Wien and the Institute of Contemporary Art at the University of Pennsylvania.
In her first comprehensive survey in the US, the artist and designer reveals a diverse and colourful practice that started with legendary design collective Memphis. Here, she talks about the show and moving from design to painting.
Jenny Holzer. On War, 2017. Text: A Scream From Underground, from Building The Barricade by Anna Swirszczynska, translated by Piotr Florczyk. Translation copyright © 2016. Published by Tavern Books. Used by permission of Ludmila Adamska-Orłowska and the translator. © 2017 Jenny Holzer, member Artists Rights Society (ARS), NY. Photograph: Samuel Keyte.
In her current exhibition at Blenheim Palace, Holzer responds to the building’s military history with more than 50 works examining the brutality of war.
Christopher Wool. Head, 1992. Enamel on aluminium, 274 x 183 cm (107.8 x 72 in). Courtesy Astrup Fearnley Collection, Oslo, Norway.
This exhibition is a lively collection of works from a group of impressive and challenging artists, which together tell a powerful story of the social ills affecting the US from the Nixon years to the turn of the century.
Katriona Beales. Material, 2017. Digital print, display case and sculptures, dimensions variable. Photograph: Pau Ros.
Following the opening of Are We All Addicts Now? at London’s Furtherfield, Katriona Beales, the exhibition’s lead artist, talks about the digital power to seduce and coerce.
John Hoyland. 20.4.66, 1966. Acrylic on canvas, 229.5 cm x 304.8 cm (90 3/8 x 120 in). © The John Hoyland Estate. All rights reserved, DACS 2017. Photograph: Colin Mills,
courtesy of Pace Gallery.
This, the first New York exhibition of John Hoyland’s work in 25 years, brings together seven of his monumental stain paintings along with works on paper. Don’t miss it.
Sara Barker. Camp coffee and communication errors, 2016. Aluminium sheet, aluminium rod, automotive paint, perspex, 213 x 130 x 35 cm (83 7/8 x 51 1/8 x 13 3/4 in). Image courtesy the artist; Mary Mary, Glasgow. Photograph: Max Slaven.
Sara Barker’s exhibition of five wall-based relief sculptures, which opens Mary Mary’s new space in Glasgow city centre, continues her trademark fusion of sculpture and painting, abstraction and figuration, history and the present.
Ross Birrell. Criollo, 2017. Film still. Image credit: John Engstrom. Courtesy the artist and Ellen de Bruijne Projects.
Ross Birrell talks horses, endurance and taking risks in relation to two works for Documenta, his film Criollo and The Athens-Kassel Ride: The Transit of Hermes, a procession of horses and riders on a 1,850-mile journey, which he describes as a ‘mobile human-equine ensemble’.
Bethlem Gallery, with cardboard sculpture by Mr X in the foreground, 1 September 2017. Photograph: Ed Watts, courtesy Bethlem Gallery.
In the grounds of the UK’s first hospital to treat people with mental illness, lie a fascinating museum and gallery. To celebrate its 20th anniversary, the Bethlem Gallery is holding an exhibition of work by those, including Grayson Perry, who have been touched by mental illness.
Lubaina Himid. Jelly Mould Pavilions Project, Folkestone Triennial, 2017. Photograph: Martin Kennedy.
The fourth triennial outing for this slowly regenerating UK seaside town sees curator Lewis Biggs invite a multicultural cast of artists, architects and activists to bring their sonic, sculptural, performative and visual talents to bear in revealing new perspectives on Folkestone, its identity and its potential. Studio International talked to some of the artists and organisers involved.
Rachel Whiteread. Chicken Shed, 2017. Concrete, 216 x 229 x 278 cm. Courtesy the artist. © Rachel Whiteread. Photograph: © Tate.
In the most substantial survey of Rachel Whiteread’s work to date, the Tate looks back over 30 years of her sculptures.
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.
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