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At Kunsthalle Basel, Hong Kong-born animator Wong Ping creates a seductive physical world for his grotesque and sexually charged animations with installation and sculptures
Allan Sekula, Black Tide/Marea negra, 2002-03. 20 colour photographs in 10 frames, text. Copyright Allan Sekula. Courtesy the artist and Marian Goodman Gallery New York, Paris and London.
A career-spanning presentation of the late photographer and theorist shows an artist redefining the capabilities of his medium.
Performance view of BMW Tate Live Exhibition: Anne Imhof: Sex at Tate Modern 2019, © Tate Photography (Oliver Cowling).
Spending four hours at Imhof’s live works is like Waiting for Godot, for the slacker generation. The audience turns out to be the most fascinating element of the exhibition.
Daniel Steegmann Mangrané, The Word for World is Forest, 2019, installation view at Nottingham Contemporary. Photo Stuart Whipps.
Step into this show and you find yourself immersed in the Brazilian rainforest, as the artist draws you in with installation, film and VR to highlight the plight one of the world’s most endangered ecosystems.
Alexandra Dementieva, Breathless, 2012. Interactive light object with production by Cyland MediaLab, VGC (Vlaamse Gemeenschapscomissie) (BE), and Adem vzw (BE), support from iMAL asbl/vzw and Flemish Ministry of Culture, programming and engineering by Aleksey Grachev and Sergey Komarov, and breath detector/Interface-Z construction by Peter Maschke; courtesy of the artist.
The exhibition is not only a visual and intellectual tour de force, but also offers spiritual fulfilment, immersing the viewer in an atmosphere of exploration of ancient Buddhist concepts and practices as seen through contemporary art.
Elizabeth Price, FELT TIP, 2019, installation view, Nottingham Contemporary. Photo: Stuart Whipps.
Prehistoric ferns, corporate ties and hairy-legged stiletto wearers are among the things Elizabeth Price’s video works throw at you, as the Turner prize-winner investigates seismic change in manual and white-collar labour.
Gladys Nilsson, A Cold Mouth, 1968. © the artist. Courtesy the artist and Garth Greenan Gallery, New York.
Rosie Cooper and Sarah McCrory’s stunning retrospective pays homage to an artist group at work beyond the artworld’s centre.
Gerda Scheepers. (Roller) Blind, 2019. Fabric, wood, rope, copper hook, 65 x 184 x 8 cm (25 1/2 x 72 1/2 x 3 in). Image courtesy the artist; Mary Mary, Glasgow. Photo: Malcolm Cochrane.
The Cape Town-based artist presents new work at Glasgow’s Mary Mary Gallery, creating a subversive, melancholic and yet quietly comical homage to the frustrating everyday.
John Bellany, Rose of Sharon, 1973. Oil on canvas, 194 x 187 cm (76.4 x 73.6 in). Photo: Prudence Cuming Associates, The Estate of John Bellany. All rights reserved. Bridgeman Images, 2019.
From his collection, Damien Hirst has produced a tribute to the passionate and visionary work of two Scottish artists he admired.
Pascale Marthine Tayou, Plastic Bags, 2019. Presented by Richard Taittinger Gallery, New York, and Galleria Continua, San Gimignano, Beijing, Les Moulins, Havana. Photo @ Mike Vitelli.
From historical displays to recent works by relatively unknown artists, from performance to installation, from politically provocative and conceptual pieces to ornamental presentations, this year’s Armory presented a well-measured display of opposing – even conflicting – trends within the art world .
Hew Locke talking to Studio International at his London studio, 5 February 2019. Photo: Martin Kennedy.
Hew Locke discusses monarchy, nationhood, bigotry, boats, Brexit and the seductive silliness of TV’s historical dramas, before the opening of his show at the Ikon Gallery, Birmingham.
Laura Buckley.
Buckley talks about her sculpture and video Fata Morgana, currently on show at the Saatchi Gallery, using her work as a catharsis for difficult times – and the pros and cons of the Instagram moment.
Emma Kunz at her working table, Waldstatt, 1958. Photo copyright Emma Kunz Centrum.
Kunz was a spiritual healer who saw her drawings – all done with crayons and pencil on graph paper and some aided by divination with a pendulum – as part of her research-led practice.
Ronny Sen.
Sen talks about photographing the out-of-control fires burning underground in the coal mines of Jharia, India, how he ensures every image has something it reveals and something it hides, and the death of Kolkata.
Joan Semmel. Untitled, 2016. Oil crayon on paper, 11.63 x 15.63 in. Courtesy the artist and Alexander Gray Associates, New York.
With 120 artists to choose from, this drawing show is stuffed with treasures. There is something here for everyone.
David Austen in his studio. Photo: Ben Stockley.
On the occasion of Underworld, a new exhibition at Dundee Contemporary Arts, the artist talks about writers who have influenced him, from Camus to Dr Seuss, his recurring dream of being chased by a naked lizard woman, and why he doesn’t think his work would bring peace to anybody.
David Hockney painting May Blossom on the Roman Road, 2009. © David Hockney. Photo: Jean-Pierre Gonçalves de Lima.
For those hoping to see the shared sensibilities and sensitivities of two of the world’s most famous artists, disappointment may be in store: the similarities explored are mostly superficial and the exhibited work is 90% Hockney.
John Ruskin. Study of Moss, Fern and Wood-Sorrel, upon a Rocky River Bank, 1875-79. Pen, ink, watercolour and bodycolour on paper. © Collection of the Guild of St George / Museums Sheffield.
Marking the bicentenary of Ruskin’s birth, this exhibition, the first of many across the UK this year, celebrates the artist-critic-collector’s intentional legacy, the Guild of St George, and his lessons in using looking and drawing as conduits to understanding.
Devon Shimoyama, Miles, 2019. Oil, acrylic, colour pencil. jewellery, Flashe, glitter, collage, sequins and fabric on canvas
stretched over panel, 60 x 48 in (152.4 x 121.9 cm). Image courtesy De Buck Gallery, New York.
His portraits consider the black, queer, male body from a personal perspective that is as informed by mythology and folklore as it is by everyday life. Shimoyama talks here about his new solo exhibition, Shh … at De Buck Gallery in New York.
Julie Mehretu. Monotype #19, 2018. Monotype with printer ink and occasional acrylic on Hahnemuhle Copperplate 300gsm, 55.9 x 73.7 cm. © Julie Mehretu. Photo © Rebecca Fanuele.
In these new works, Mehretu plunges the viewer into her phenomenological, immersive methodology and her mark-making serves to release your own rich store of memories and associations.
Barby Asante: Declaration of Independence, 2019. BALTIC Centre for Contemporary Art. © 2019 BALTIC.
With Declaration of Independence at the Baltic, Asante makes space for womxn of colour to relate narratives and reflect on the nature of independence.
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