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Lubaina Himid, Porthmeor Studios.
Lubaina Himid’s first solo exhibition in the US has just opened, debuting works that continue her longstanding project on identity, representation and survival. She talks here about this new work and her pioneering role in the 1980s in the British black arts movement
Dulwich Pavilion 2019: The Colour Palace, by artist Yinka Ilori and architects Pricegore. Photo: Adam Scott.
The Colour Palace is a monumental temporary pavilion by artist Yinka Ilori and architects Pricegore, bringing the heat and vibrant hues of Nigerian markets and mosques to the Sir John Soane-designed Dulwich Picture Gallery. But does it do more than simply draw attention and add ornament?.
Julie Cunningham, portrait. Photo: Rick Guest.
Seeking to erase embedded patriarchal structures and fixed gender identities through dance, Julie Cunningham’s choreography is often inspired by feminist texts. Their new work for Art Night 2019 promises to be full of energy – all night long!.
Installation view, Wohl Central Hall, Royal Academy Summer Exhibition 2019. Photo: © David Parry/ Royal Academy of Arts.
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.
Antoni Tàpies, Duat, 1994. 250 x 600 cm. © Antoni Tàpies. Courtesy Waddington Custot.
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.
Gerhard Richter. Seascape (Seestück), 1998. Oil on canvas, 290 x 290 cm. Guggenheim Bilbao Museo. © Gerhard Richter, VEGAP, Bilbao, 2019.
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.
Thomas Kilpper: The Politics of Heritage vs the Heritage of Politics. Installation view, Edinburgh Printmakers, Edinburgh, 27 April – 13 July 2019. Photo: James Boyer Smith.
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.
Raffi Kalenderian. Robert, Bob, and Seymour, 2019. Oil on canvas, 84 x 120 x 1.5 in (213.36 x 304.8 x 3.81 cm). Courtesy of the artist and Vielmetter Los Angeles. Photo: Robert Wedemeyer.
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.
Andrew Marr talking to Studio International in his London studio, 2019. Photo: Nick Howard.
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 speaking to Studio International at the opening of a seam, a surface, a hinge or a knot,  Portugal in Venice 2019. Photo: Martin Kennedy.
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 talking to Studio International at the opening of Discordo Ergo Sum, Pavilion of Austria, Giardini, Venice, 2019. Photo: Martin Kennedy.
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.
Shirley Tse speaking to Studio International at the opening of Stakeholders, Hong Kong in Venice 2019. Photo: Martin Kennedy.
The artist talks about accommodation and negotiation as expressed in her Venice installation, Stakeholders: a multi-dimensional sculpture using hand turned wood and 3D printed elements.
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.
Shu Lea Cheang speaking to Studio International at the opening of 3x3x6, Taiwan for Venice 2019. Photo: Martin Kennedy.
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.
Simone Kenyon, Into The Mountain, performance, 30 May - 2 June 2019, Cairngorms National Park. Photo: Felicity Crawshaw / Scottish Sculpture Workshop.
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.
Norman Gilbert, Ballad(e), 1970. Oil on board, 76 x 122 cm. © Norman Gilbert.
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.
Giorgio Morandi, Still Life (Natura morta), 1936. Oil on canvas, 33 x 37 cm. Fondazione Magnani Rocca, Mamiano di Traversetolo (Parma), Italy. © Giorgio Morandi, VEGAP, Bilbao, 2019.
The early 20th-century painter known for his devotion to still lifes is held up next to the artists who shaped his vision.
Vincent van Gogh, Path in the Garden of the Asylum, 1889. Oil paint on canvas, 61.4 x 50.4 cm. Collection Kröller-Müller Museum, Otterlo.
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.
Edmund de Waal, the library of exile, 2019. Ateneo Veneto. Part of Psalm, an exhibition in two parts at the Jewish Museum and Ateneo Veneto, Venice. © Edmund de Waal. Courtesy of the artist. Photo: Fulvio Orsenigo.
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.
William Kennedy, when it's cold i'd like to die, 2019. Video installation, three films, single channel, colour, sound, 9 min 16 sec. © the artist.
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.
Keith Tyson. Ikebana - Waterfall Stage (Boss Level), 2018. Oil on aluminium, 247.7 x 171.5 cm (97 1/2 x 67 1/2 in) (framed). © Keith Tyson. Courtesy of the artist and Hauser & Wirth.
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.
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