The V&A presents an exhibition exploring the abstract and architectural shapes of Cristóbal Balenciaga’s work in the 1950s and 60s, drawing out connections between his legacy and contemporary fashion designers.
The Japanese-born artist recounts his refusal to dictate how spectators should view his work, his visual dialogue with Frank Stella, and the desire to void his art of meaning.
Drawing on its extensive collection, this small but exquisite show floated by the Whitney Museum of American Art presents Alexander Calder’s balancing act as a modernist revolution whose visual vocabulary gave art another dimension.
As we see from the Barbican’s science fiction exhibition, the genre has consistently looked to the future as a means to extrapolate and accentuate the hopes and fears of the present.
The artist talks about his love of words, the human drive to make marks and the more spiritual side of his work.
The Australian artist explains how she made her installation Sea Country Spirits, and talks about discovering her Wadawurrung heritage and how it changed her practice as she moved away from man-made materials to using materials she collects from the land.
Mellors and Nissinen represent Finland at this year’s Venice Biennale. They discuss handmade puppets, homemade film sets, creation myths involving eggs, the flimsy narratives on which national identities are built, and whether you have to love something in order to make fun of it.
Campbell talks about his film Hondros, which premiered at the year’s Tribeca Film Festival, and about his long friendship with its subject, the photojournalist Chris Hondros, who was shot and killed in Libya in 2011.
Alberto Giacometti’s scrawny figures pulse with kinetic energy. This new retrospective at Tate Modern shows his versatility, celebrating his passion for materials other than the bronzes for which he is famed, giving a greater breadth and depth to the understanding of his work and inspirations.
The exhibition captures the ingenuity and playfulness involved in critical perception, with more than 50 artists basing works on historic artworks to form contemporary pictures.
This exhibition delivers everything you would expect from the colourful Perry, but it is also a reminder that he is as much a part of the establishment as he is an original thinker.
The quintessentially American artist is now 96 years old, and this impressive exhibition shows an array of Thiebaud’s still lifes, portraits and landscapes from across the seven decades of his career.
The Minneapolis-based artist discusses his experimental approach to materials, the significance of music within his practice, and the role of transcendence in contemporary life.
Searching for alternative historical and cultural narratives, Zaatari reveals the contents of the Arab Image Foundation through documentary film, photography and art, bringing new readings to the collection.
On the occasion of his curated installation at Mazzoleni, the pioneer of conceptual art speaks to Studio International about his insistence that art must question and elicit meaning, the impoverishment of art’s critical bite under market domination, and his scepticism about art history’s objectivity.
Hecker manipulates digital sound and our perception of it in this installation commissioned for Tramway.
Batman, Donald Duck and Disney-style mice all loom large in the US artist’s second exhibition at the Lisson Gallery, And, although the works, all from 2017, are well-worn territory for her, she demonstrates a subtle shift in style.
After his recent solo exhibition at Parasol Unit in London, the artist talks about the relationship between Lebanon and Syria, having more in common with JMW Turner than Caspar David Friedrich, and how we are programmed to view landscapes as beautiful.
Indian artist Mithu Sen has a quicksilver practice that is difficult to categorise or maintain as a singular narrative. This, she says, is intentional – it is her effort to defy the demands of the market.
In her exhibition Homemaker at the Jack Shainman Gallery in New York, the Philadelphia-based artist presents a group of paintings that reflect on interiors that include objects of personal significance.
Shigeru Ban has landed an ocean liner of a music venue at Paris’s westernmost edge. With two auditoria and a huge amount of public space, it is hoped the €170m building will enrich the city’s music scene and the fortunes of the formerly industrial island in the Seine on which it sits.
Young’s Venice Biennale collateral event for Hong Kong explores the disquieting cocktail of components that comprise the charity single. He talks about the power of music, fake news and what our cultural products say about human nature.
This exhibition brings to life the story of the Japanese artist Hokusai’s later, and arguably greatest, years.
Abou Farman, who co-wrote Icaros: A Vision with Leonor Caraballo, talks about the film, which is based on Caraballo’s exploration of shamanism after she was diagnosed with cancer, and coming to terms with her death.
The Glaswegian comic-book superstar Frank Quitely is celebrated in this new exhibition of his famous work.
Merging human organs and household objects, Lozano’s early miniatures are erotic and unsettling in equal parts.
Camden Arts Centre’s exhibition provides an overview of Brătescu’s artistic career and including drawing, collage, video, sculpture and photography.
Despite multiple curatorial concepts, the first part of Documenta 14 is dominated by the decision to hold it in Athens. Beyond the political decisions and curatorial rhetoric, the exhibition is an ambitious and extensive city-wide production that can be read in many ways.
The artist talks about her recent exhibition, All Whores are Jacobites, and how she became intrigued by the lives of three women whose lives were linked by themes of prostitution, textile work and protest.
Maclean is representing Scotland at the Venice Biennale with her new film, a dark fairytale titled Spite Your Face. She talked to us before the biennale about the film, nationalism, fairytales, and how narratives can be so powerful that audiences prefer the fiction to fact.