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.
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.
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.
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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.
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.
Iranian artist Maryam Najd talks about her exhibition at the Arthur M Sackler Museum of Art and Archaeology in Beijing and why she chose to embark on a project researching the national flowers of the world.
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A major Alexander Calder exhibition at Centro Botín in Santander reveals about 80 of the great American artist’s unrealised projects. Hans Ulrich Obrist, curator of the show, discusses these little-known collaborative works, which highlight Calder’s interest in the world around him.
In a joint venture with the Belgian city of Genk, the artist Koen Vanmechelen has built a €22m ecological park that presents art as an instigator of community development.
This is a valuable guide to the history of the reception of modern and contemporary Iranian art in the west, offering a broad outlook on cultural interactions between Iran and major American cultural institutions in the past three decades.
Through the use of old train seats and other salvaged materials, the Ghanaian artist tells a story of his country, rich with the legacy of colonialism, independence and lost opportunities.
A display of paintings by Spanish Renaissance painter Bartolomé Bermejo forms a picture of religious upheaval and artistic excellence.
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.
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.
Focusing on works done in the final four years of Avery’s career, these portraits depict the people and motifs closest to him.
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.
This show explores the ways in which collage has been used to create work that is, by turns, playful, chaotic, expressive and innovative.
A new international quadrennial across Leeds and Wakefield opens with an introspective first edition, which finds the sculptural in some surprising places.
Jaray looks back at a career that has spanned more than 60 years and talks about the influence on her of American painting in the 50s and 60s, the importance of architecture and teaching at the Slade.
There are nearly 30 years of work in this retrospective, so it is to be hoped that, despite the show’s crowd-pleasing, selfie-inducing tone, visitors take in Eliasson’s serious environmental messages.
The Royal Academy’s exhibition of Vallotton’s varied and strange work proves that some artists defy easy definitions.
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At the Merz Foundation in Turin, on the occasion of its third art prize, Bertille Bak reflects on a Romany community living on the periphery in Paris.
In her first institutional solo show, the German artist plays on the fast fickleness of commodification, trend and fashion.
![Ima-Abasi Okon, Infinite Slippage: nonRepugnant Insolvencies T!-a!-r!-r!-y!-i!-n!-g! as Hand Claps of M’s Hard’Loved’Flesh [I’M irreducibly-undone because] —Quantum Leanage-Complex-Dub, 2019. Installation view, Chisenhale Gallery, 2019. Commissioned and produced by Chisenhale Gallery, London. Courtesy of the artist. Photo: Andy Keate.](/image_home.php?image=images/articles/o/090-okon-ima-abasi-2019/02__Ima-Abasi-Okon-at-Chisenhale-Gallery_Photo-Andy-Keate.jpg)
Old air-conditioning units, poor-quality ceiling tiles coated with ultrasound gel and gold – the utilitarian and the precious come together in Okon’s fascinating installations.
Warner, design director of multimedia visual artists and impresarios 59 Productions talks about collaborative creativity, working across global as well as technical boundaries, sources of inspiration and how technology should always be subservient to the story.
Through video installation, sculpture and printmaking, Staff uses a play from 1810 as a vehicle to explore queerness and sexual identity in today’s world.
This show of Metzger’s work, as part of the King’s Lynn Norfolk festival, looks at his years living in the town in the 1950s, a time that shaped his move to social engagement and activism in his output.
The Queen’s Gallery showcases the Royal Collection’s superb archive of Leonardo da Vinci drawings in an exhibition that reflects the mischief and the magic behind the greatest mind of the Renaissance.
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Akomfrah’s skill as a film-maker and visual storyteller shines through in this compelling show.
Devastated by Hurricane Katrina in 2005, the sculpture garden now has a spacious new extension and almost 30 additional works, including commissions from Teresita Fernández, Maya Lin and Elyn Zimmerman.
The artist talks about his alternative porn installation, House of Fun, now on at Norway’s Momentum, launching a porn studies institute and having sex with insects.
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