Remy Jungerman speaking to Studio International at the opening of The Measurement of Presence, Dutch Pavilion, Venice Biennale 2019. Photo: Martin Kennedy.
Jungerman and Kensmil’s installations for the Dutch Pavilion explore issues of race, identity, culture, history and art history. Here, at the opening of the show, Jungerman talks about the sources of his work in Dutch and European modernism, Winti, an Afro-Surinamese religion, and his Maroon ancestry
For the first time, Craig-Martin’s sculptures are indoors and there is an Alice in Wonderland feel to wandering among everyday objects such as forks and safety pins on a vast scale.
This exhibition of Bowling’s work is colourful, joyous and long overdue. Covering the entire span of his artistic career, it reveals for the first time the importance of this overlooked artist.
This joyful exhibition, a testament to Krasner’s astonishing energy, creativity and capacity for reinvention, reaffirms her rightful status as a towering figure in postwar American art .
Artist Lothar Götz talks about designing a monumental mural for Towner Art Gallery, the politics of the Bauhaus and why he rejected figurative art.
The 98-year old painter’s debut institutional exhibition showcases a lifetime of work that fuses the human with the cosmic, while speaking keenly to the present.
With AI seeping into all our lives, the Barbican should be congratulated for tackling such a prescient subject, and there are some real gems here. But has it missed a trick in making this a celebration rather than a critique of the technology that has such scope for abuse?.
The British Museum turns its attention to Japan’s distinctive medium of graphic storytelling, and reveals a diverse, culturally intriguing picture.
Inspired by feminist film practitioners who emphasise the importance of making films with their subjects, not about them, Workers! is very much a collaboration between film-maker Petra Bauer and SCOT-PEP, a sex worker-led organisation in Edinburgh.
Under the stewardship of MoMA’s Paola Antonelli, the revitalised exhibition turns its eyes to our impending doom – and what design can do to make amends.
Three curators and 11 artists retell the colonial history of the Philippines through subjective and personal frames.
The spectacle that is the Royal Academy Summer Exhibition and the stylishness of its visitors has, it seems, never waned and, from the outset, the press has contributed to its reputation. Its visitors are just as important as the artworks they come to see.
This exhibition is a tribute to six 20th-century artists who drew inspiration from the street art and graffiti they found in their cities, in a celebration of mark making both ancient and modern.
An exhibition of Richter’s seascapes goes on display at Guggenheim Museum Bilbao, proving that, even for the modern painter, he holds an irresistible fascination.
Edinburgh Printmakers celebrates its new home with an exhibition by Thomas Kilpper, in which the German artist-activist takes on historical and political themes around colonialism and Brexit.
For Kalenderian, painting is all about excitement. His radical portraiture – as much of the scene as of the sitter – is a celebration of experimentation and problem-solving. Here, he speaks about what attracts him to his subjects and how he goes about capturing them.
The broadcaster, writer and former BBC political editor talks about how his painting and drawing practice has changed since his stroke six years ago, having two exhibitions this month – and how Brexit crept into some of his work.
Leonor Antunes combines her sculpture and craft to open up conversations within architectural spaces. Here she discusses the 20th-century figures, both known and lesser known, who inspired her Portugal installation for the Venice Biennale.
Renate Bertlmann’s work is rooted in 1970s feminism, yet her message is entirely contemporary. She talks to us about celebrating sensuality and honesty of emotional expression –anger as well as tenderness, fear and lust.
Eva Rothschild’s installation in Venice’s Arsenale summons the spirit of infrastructure, rubble and monuments of disposable (yet not disposable) material. She hopes it will encourage a more direct interaction and encounter with the work.
Sean Edwards discusses growing up in a community with low expectations and expressing the most honest version of self as an artist, through his multi-media Wales in Venice installation Undo Things Done.
Shu Lea Cheang’s multi-media installation for Venice uses its ancient prison setting well to explore the biographies of historical and contemporary sex offences, and ponder the impacts of today’s omnipresent digital surveillance.
Immersive art doesn’t usually involve a 5.30am start and a day hiking in the rain, but Into the Mountain opens us up to the potential of contemporary art practices to be truly adventurous and transformative.
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This show, spanning 50 years of Gilbert’s career, is not only a record of the artist’s output, but a moving and intimate documentary of his own family life painted across half a century.
The early 20th-century painter known for his devotion to still lifes is held up next to the artists who shaped his vision.
In its first Van Gogh exhibition since 1947, the Tate considers how British culture informed the artist’s work, and gives a fascinating insight into the influence the social realists had on him and his influence on young British artists.
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In a two-part exhibition, the artist has used his trademark porcelain vessels, two buildings of great significance and a library of books to trace a universal story of exile and translation.
What is it to be happy in an age where mental health problems are so prevalent? How can communing with nature, externalising the internal – both metaphorically and literally – help with this? This slickly curated three-person show delves deep, lays bare, and offers a very plausible answer to an unanswerable question.
The artist talks about the joys of scaling back, relearning the craft of painting, and why the flower paintings in his new show, Life Still, at Hauser & Wirth, London, are about so much more than flowers.
McFadyen, known for his urban landscapes and putting the marginal centre stage in his paintings, is the co-ordinator of this year’s Royal Academy Summer Exhibition. It’s been challenging and exciting, he says, but he’s finding the baggage of its reputation more than a little trying.
Edition 2019 looks great, goes wide and speaks loudly, but is it off mission? Lost in this bi-coastal perceived zeitgeist of identity politics is an unbiased survey of art-making with no agenda but the deep need to make it, and of the artists working in America’s backwaters.
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