This exhibition is both broader and narrower than its title suggests. In a nutshell, it brings together undeniably beautiful – if, on reflection, a little disturbing – poetry and paintings about obsessive love.
This exhibition is a joy, combining leaflets, flyers and other ephemera from Debord and Wolman’s period of collaborative working and their Lettrist International project, as well as artworks that Wolman created after the two had parted ways.
Stewart takes into account the contingencies of ambient light, her works iridescent, shimmering between hues and moods depending on the moment, and on where you stand.
The E-Werk’s Turbine Hall is the perfect setting for Freije’s new figurative metal sculptures. This vast venue opened up new possibilities for her work, she says, explaining the ideas behind her figures and how using lighting designers has been transformational.
They never met or even knew of one another’s work, yet they are united by a belief in theosophy and divine nature and a penchant for abstract painting.
This young painter, fresh out of the Royal College of Art, has already developed her own, very distinctive way of method of painting, producing vivid and dramatic textured works.
If you thought you knew everything about Warhol’s work, this show may surprise you. The curators have unearthed a selection of vintage garments and fabrics printed with designs that reveal Warhol’s wit and eye for a memorable image.
A scruffy old armchair, two grubby basketballs, ventilation panels, dirty white walls – it’s unsettling, not what you expect of a show. But this sense of discomfiture is exactly what Smith wants you to feel.
Having set up Studio Seilern Architects in 2006, Christina Seilern has been quietly building a solid body of elegant, spatially ambitious buildings and is now garnering the industry accolades she deserves. She talks about storytelling, sexism, slow regeneration and prioritising interesting work.
Scotland’s oldest public museum has “reframed” its historic collection to recognise Glasgow’s links to empire, slavery and colonialism.
Charting 40 years of the film-maker’s career, this exhibition immerses its audience in slavery, immigration and homophobia. This is cultural activism at its best.
Ai has a genius for incorporating pieces of everyday design into his work as a form of protest at government oppression and corruption, or as a means of questioning our cultural fixations. And where better to parade that talent than at London’s Design Museum, in this career-spanning retrospective?.
While some might be quick to dismiss #WallaceWoofs as kitsch and gimmicky, it is a well-founded and well-grounded exhibition – and gets the lick of approval from my four-legged companion.
Colour, gesture and expression permeate the works of Chaïm Soutine and Leon Kossoff, but this exhibition cleverly allows each artist to be seen on his own terms.
Contemporary Japanese artists celebrate their country’s traditional ancient crafts using natural products as well as looking to the future of design.
Cézanne, Van Gogh and Gauguin are at the heart of this show as it takes us on an exhilarating journey through art’s evolution from the final impressionist exhibition to the eve of the first world war, with many previously unseen works from private collections.
This partnership between art institutions of disparate missions and unequal standing and resources has produced a notable exhibition, in which 20 cross-generational artists address the the state of democratic values in the US.
This groundbreaking exhibition brings together 11 countries from the former communist bloc and explores the role of design works made there during the 1950s to the 80s.
Spray-painted words ‘deface’ an array of surfaces, vast and small, some fashioned from expensive marble and gold leaf, in this show spanning 20 years of Brüggemann’s output. But does graffiti, once a dramatic way to put across a subversive message, still have the power to shock?.
This book chronicles Ukraine’s rich cultural heritage even as the war with Russia threatens the very existence of its collections and the buildings that hold them, with 21 museums already damaged.
An elephantine retrospective captures the madcap antics and media theorising of the pioneering Canadian conceptualists.
The first major UK exhibition of Berthe Morisot’s work in almost three-quarters of a century, this overdue display not only showcases the sole female founder member of the impressionists, but highlights new art historical links, including to English art.
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Using cast-off materials from other institutions – storage boxes, crates, exhibition signs from previous shows and steel fencing – we are made to think hard about the inner workings of an art institution.
