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Garth Evans. Untitled No 38, 1967-68. Fibreglass, four units 183 x 61 x 61cm. Image courtesy the artist.
You would probably learn more from a foot-high sculpture by Evans than the whole extravaganza that Antony Gormley is about to present at the Royal Academy
Alexander Tovborg. Photo: Oliver Bak.
The Danish artist mixes his paint with holy water. Here, he talks religion, irony and bringing mystery back into art.
Dóra Maurer. Seven Twists V 1979, printed 2011. Gelatin silver print on paper, 20.5 × 20.5 cm. Tate © Dóra Maurer.
This is a fascinating insight into the joyous experimental work of this Hungarian-born artist, who started out by subverting the cultural policy of her country’s socialist regime  .
Roger Palmer. Photo: Ellen Elmendorp.
Following an exhibition based on Robinson Crusoe and a new book of photographs of South Africa’s disused railway lines, Palmer’s latest projects are on Irish independence and Russia’s Kronstadt Mutiny. He explains how he chooses his subjects.
Image courtesy Nicoline van Harskamp.
Van Harskamp is a woman obsessed by language. Here she talks about people’s names, what she calls “linguistic biographies” and how languages evolve as people from different places speak them.
Part of Sol LeWitt Lignes en quatre directions et toutes leurs combinaisons, Bordeaux, Capc Musée d’art contemporain, 1983.
An exhibition of artists’ books, including works by Yves Klein, Andy Warhol and Thomas Hirschhorn, unfolds in three chapters.
Michael Landy. Mate, what’s this shit?, 2019. Ink on paper, 35 x 84.1 cm (13 3/4 x 33 1/8 in). © Michael Landy. Courtesy the artist and Thomas Dane Gallery.
The sociologically inclined Landy is creating an exhibition marking the 50th anniversary of the Kaldor Public Art Projects. He discusses the challenges of reviving archival ghosts, his enduring fascination with artistic failures, and Kaldor’s doggedness in realising his ambitious scheme.
Leila Heller on opening night of her new gallery space at 17 East 76th Street.
Gallerist Leila Heller talks about showing Andy Warhol and Jean-Michel Basquiat in the 1980s, after meeting them in New York clubs, promoting artists from the Middle East, her current show curated by Warhol’s muse – and why she has just moved her gallery back to where it all began.
Serpentine Pavilion 2019, designed by Junya Ishigami, Serpentine Gallery, London © Junya Ishigami + Associates, Photo © 2019 Iwan Baan.
Perhaps this is an idea that looked good on paper, but with its dark slate roof and unstable-looking structure, Junya Ishigami’s pavilion is oppressive and unwelcoming.
Andermatt Concert Hall. Photo © Roland Halbe.
The Andermatt Concert Hall is a world-class auditorium, the first in the Swiss Alps, designed by architect Christina Seilern to help transform this former army town into a new destination for culture, as well as sport and tourism.
Alberto Giacometti in his studio, 1960. Photo: Rene Burri/Magnum Photos.
This remarkable show traces Giacometti’s artistic career, displaying his works alongside those of some of his contemporaries and making clear his belief that drawing was the basis of everything.
Esther Pearl Watson. Due to Transportation, 2019. Acrylic, collage and glitter on canvas, 91.4 x 91.4 cm. © Esther Pearl Watson, courtesy Maureen Paley, London.
The Los Angeles-based painter presents an offbeat world that reflects on a distinctly American kind of idealism.
The Picture of Health, Jo Spence in collaboration with Rosy Martin, Maggie Murray and Terry Dennet, 1982. Copyright The Jo Spence Memorial Archive, Ryerson University, Courtesy MACBA Collection.
This bold exhibition brings together two challenging female artists insistent on exploring identity and the medicalised body.
Rachel  Howard. Photo: Carla Borel.
The artist talks about her interest in madness and the edge of things and the five large-scale paintings in her show l’Appel du Vide, which opens this month at Blain Southern in New York.
Sammy Baloji, Salzburg International Summer Academy of Fine Arts. Photo: Mira Turba.
The Brussels-based Congolese artist talks about the past and present of colonialism and mineral extraction in the context of his recent exhibition at Salzburg’s Stadtgalerie Museumspavillon, Salzburg Summer Academy.
Sohrab Hura, The Coast, 2019. Image copyright Sohrab Hura.
The photographer talks about his new book, Coast, and his aim of sucking viewers in with a narrative and then taking them to a point of incoherence so that they look at things anew.
Bartolomé Bermejo. Desplà Pietà, 1490. Oil on poplar panel, 175 × 189 cm. Barcelona Cathedral. © Catedral de Barcelona (Photo: Guillem F-H).
A display of paintings by Spanish Renaissance painter Bartolomé Bermejo forms a picture of religious upheaval and artistic excellence.
Documentation of the making of Assisted Self-Portrait of Kristel Asjoe, from Assembly (2013-2014) by Anthony Luvera.
Luvera is the editor of Photography for Whom?, a new journal focusing on community photography projects. Here, he talks about lesser-known works from a movement that began in the 1970s, as well as contemporary practices.
France-Lise McGurn. Photo: Tate Photography.
McGurn talks about motherhood, sleeplessness and strangeness in Glasgow, Berlin and Ibiza, and how they have fed into the work for her new exhibition at Tate Britain.
Milton Avery. Two Poets, 1963. Oil on canvas, 127 x 152.4 cm (50 x 60 in). Courtesy Victoria Miro, Venice.
Focusing on works done in the final four years of Avery’s career, these portraits depict the people and motifs closest to him.
Issy Wood, All The Rage, installation view, Goldsmiths Centre for Contemporary Art, 2019. Photo: Mark Blower.
Wood’s tragicomic paintings explore the apathetic alienation symptomatic of a networked, throwaway society, in which our understanding of ‘self’ is determined through the consumption of goods and images.
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