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Brent Wadden: Sympathetic Resonance, installation view at Pace Gallery, London. Copyright Brent Wadden. Courtesy Pace Gallery.
The artist talks about Sympathetic Resonance, his new show at Pace, why he refers to his weaving as painting, and trawling websites daily in search of secondhand yarn
Nam June Paik. Fin de Siècle II, 1989 (partially restored, 2018). Seven-channel video installation, 207 televisions, sound, 168 × 480 × 60 in. (426.7 × 1219.2 × 152.4 cm). Installation view, Programmed: Rules, Codes, and Choreographies in Art, 1965-2018, Whitney Museum of American Art, New York, September 28, 2018-April 14, 2019). Whitney Museum of American Art, New York; gift of Laila and Thurston Twigg-Smith 93.139. © Nam June Paik Estate. Photograph: Ron Amstutz.
From Nam June Paik’s 1960s experiments to alter images on a TV screen to Ian Cheng’s use of chatbots and Jonah Brucker-Cohen and Katherine Moriwaki’s comments on celebrity-making through software that tracks Twitter feeds for reality TV shows, this exhibition spans 50 years of programmed works.
Martin Creed watching his video, Hauser & Wirth, London, 2018. Photo: Veronica Simpson.
Creed spoke to us at the opening of his new show, Toast, which includes a dancing sock, a painting that moves in and out of the room and a troupe of singers, along with new drawings, videos, paintings, textiles and a rotating piece of toast.
Rafael Lozano-Hemmer, Pulse Room, 2006. Installation view, Rafael Lozano-Hemmer: Pulse at the Hirshhorn Museum and Sculpture Garden, Washington, DC, 2018. Photo: Cathy Carver.
In this fascinating show, large-scale immersive installations track visitors’ heartbeats and translate them into flashing lights, rippling waves and soundscapes.
Robyn Denny: Paintings from the 1960s, installation view. Copyright the artist, courtesy the New Art Centre, Roche Court Sculpture Park.
Roche Court’s presentation of Robyn Denny’s mysterious and enigmatic 60s abstract paintings runs alongside Neil Gall’s collages based on Studio magazine and his collage inspired cut-out paintings.
Pierre-Auguste Renoir and Jean Renoir. Photo taken by Pierre Bonnard, c1916. Proof on albumen paper from a gelatin silver bromide soft film negative, 40 x 34 cm. Paris, Musée d'Orsay. Photo © Musée d'Orsay, Dist. RMN-Grand Palais / Patrice Schmidt.
An exhibition exploring the shared motifs, subjects and settings of paintings and films by Pierre-August Renoir and his film director son Jean demonstrates how all too often, what in youth we think we want to escape, in adulthood we want to bring back close.
Bruce Nauman. All Thumbs, 1996. Plaster, component A: 10 × 5 1/2 × 4 in (25.4 × 14 × 10.2 cm); component B: 9 1/2 × 4 × 4 1/4 in (24.1 × 10.2 × 10.8 cm). Private collection, courtesy Sperone Westwater, New York. © 2018 Bruce Nauman/Artists Rights Society (ARS), New York. Photo courtesy the artist and Sperone Westwater, New York.
This retrospective helps us understand Nauman as an artist who turns attention to himself, his body and his image as an object of exploration in its relation to time, place and history.
Michelangelo Pistoletto. Donna con lampada, 1974. Silkscreen on polished stainless steel, 125 x 125 cm (49 1/4 x 49 1/4 in). Courtesy Mazzoleni.
A well-defined exhibition at Mazzoleni, London, trains its eye on Michelangelo Pistoletto’s incipient figurative experiments and their aftermaths.
Ivory plaque of a lioness mauling a man. Ivory, gold, cornelian, lapis lazuli, Nimrud, 900BC – 700BC. © The Trustees of the British Museum.
I am Ashurbanipal tells the story of an educated Assyrian king with a brutal streak.
Pepe López. Photo: Thierry Bal.
The Venezuelan artist recounts packing a life into a suitcase, the potency of objects in evoking the past, and the will to overcome loss through transformation.
Edward Burne-Jones. The Garden Court, 1874-84. Oil on canvas, 125 x 231 cm. The Faringdon Collection Trust.
Burne-Jones may not appeal to the contemporary art world, but Tate Britain’s survey proves there’s more to the pre-Raphaelite master than Arthurian escapism.
Helmut Kolle. Young Man with a Coloured Scarf, c1930. © Kunstsammlungen Chemnitz - Museum Gunzenhauser, Stiftung Gunzehauser.
In 1938, a year after the notorious Nazi exhibition of “degenerate art” in Munich, a counter exhibition in London showed works by 65 of the defamed artists. Eighty years on, this retrospective looks back at that exhibition, its organisers, the artworks and the artists themselves, and the stories of the lenders.
Fernand Léger. ABC, 1927. Gouache on paper, 19.4 x 27.8 cm. Tate: Presented by Gustav and Elly Kahnweiler 1974, accessioned 1994. © ADAGP, Paris and DACS, London 2018.
Léger is regarded as the father of pop art and, despite his harrowing experiences during the first world war, the works here reflect a sense of optimism.
Emma Hart, Mamma Mia!, 2017. Installation view, The Fruitmarket Gallery, 2018. Collezione Maramotti, Reggio Emilia, Italy. Photo: Ruth Clark.
In a playful, rebellious show that explores the sinister and surreal of the everyday, the London-based artist Emma Hart turns to clay and chaos in her first Scottish exhibition.
Maggi Hambling. Sebastian Horsley VIII, 2011. Oil on canvas. © Maggi Hambling.
This exhibition brings together the works of a formidable group of artists whose friendship has inspired some compelling portraits.
OMA’s Norre Tornen, Stockholm. Photo © Laurian Ghinitoiu Oscar Oma.
With two new luxury blocks of flats, OMA and Bjarke Ingels Group have added their architectural signatures to the Stockholm skyline. But are these apartments for the affluent really what Stockholm needs?.
Funda Gül Özcan. Photo: Stephanie Rumberger.
Özcan talks about her recent installation at a bar in Graz, extraterrestrials, the Kosovo war, artworks that function like pop songs and why men confide in her.
Lotte Laserstein. Russian Girl with Compact, 1928. Oil on panel, 31.7 x 40 cm. Städel Museum, Frankfurt am Main. Photo: Städel Museum – Artothek. © VG Bild-Kunst, Bonn 2018.
Lotte Laserstein was a rising star of Weimar Berlin, forced to leave her country and abandon her artistic aspirations, but with this exhibition of highlights from her peak, there is hope that her name may yet not be forgotten.
Andy Warhol. 129 Die in Jet! 1962. Acrylic and pencil on canvas, 100 x 72 in (254 x 182.9 cm). Installation view, photo: Jill Spalding.
The Whitney’s pantheon exhibition, of close to 300 works, sidelines Andy, the pop artist marketed on posters and mugs, to reveal Warhol, the visionary become meme with a signature vocabulary that still colours the culture.
Andreas Lolis. Untitled, 2018. © PanosKokkinias, Courtesy NEON.
Lolis talks about why he uses marble to sculpt bin bags, wooden crates and other mundane items, in reference to homelessness, the refugee crisis and Greece’s changing society.
Artes Mundi 8, National Museum Cardiff, 2018. Photo: Polly Thomas.
The artists shortlisted for Artes Mundi 8 aim to stir our consciences on everything from abuse of the Earth’s resources to the creep of surveillance and the steel industry’s impact. We talk to two of them, Anna Boghiguian and Otobong Nkanga, about their work.
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