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Vienna Design Week 2018

What’s the difference between design and art? This year’s Vienna Design Week went a long way to answering that perennial question. Designers, artists, architects and educators from all over central Europe used this platform to interrogate how and why we live the way we do, and proposed intriguing, absorbing or simply beautiful solutions

Doris Salcedo, Palimpsest, 2013−17. Installation view, White Cube, Bermondsey, 2018. © the artist. Photo © White Cube.
The White Cube presents two of Doris Salcedo’s works, each exploring loss and the fragility of life with the artist’s signature flair.
Martin Eder portrait, Parasites, Newport Street Gallery, Prudence Cummings Associates.
In this solo exhibition, Eder explores cultural value judgments through his kitsch portrayals of kittens, puppies and female nudes, in paintings spanning the past 15 years of his career.
Future Knowledge, installation view, Modern Art Oxford, 2018. Photo: Ben Westoby.
This thought-provoking exhibition explores how artists can raise awareness about climate change and the environment.
Nicolas and Frances McDowall talking to Studio International about the Old Stile Press, 11 September 2018. Photograph: Martin Kennedy.
Nicolas and Frances McDowall started the Old Stile Press almost 40 years ago. They talk to Studio International about the many and varied books they have produced in that time.
Ian Davenport talking to Studio International about his exhibition Colourscapes, at Waddington Custot Gallery, London, 18 September 2018. Photo: Martin Kennedy.
The artist discusses works done over the past year, now at Waddington Custot, London, as well as the three decades of his work on show at Dallas Contemporary.
Renzo Piano, The Shard: A View from St Thomas Street, 2018. © RPBW.
From his famed Pompidou Centre to eye-opening projects that many won’t know about, including a travelling pavilion for IBM, to the Shard, Renzo Piano’s inspiration and genius shine through in this exhibition highlighting 16 of his works.
Vanessa Brazeau, portrait. Courtesy of the artist.
Performance artist Vanessa Brazeau devises absurd exercise routines and fitness apps in order to connect the act of movement to the way we think and make decisions.
Helen Duncan emerging from curtains with ‘ectoplasm’ – her hands holding those of others
at the séance, Edinburgh, 1933. Photograph © Senate House Library, University of London.
Spellbound is an exhibition that not only examines the superstitious practices that governed our ancestors, but also exposes those we still cling to today .
Jutta Koether. Untitled, 1987. Oil on canvas board, 7 x 9 1/2 in. Courtesy of the artist and Galerie Buchholz, Berlin/Cologne/New York.
In Munich, the most significant retrospective of the German artist to date, shows her paintings from the last four decades, including rarely seen early works, and an epic new cycle.
Frida Kahlo with Olmec figurine, 1939, photograph by Nickolas Muray. © Nickolas Muray Photo Archives.
This exhibition offers a lesson in why you shouldn’t feed popular morbid curiosity at the expense of respect for the person behind the legend. Nevertheless, Frida Kahlo’s paintings still shine out from amid the costumes, prosthetics and pill packets.
Stephen Farthing. Photo: Dan Stevens.
Farthing explains how his Miracle paintings, now on show at Salisbury Cathedral, came from a conversation he had with a Coptic priest in Cairo.
Berlinde De Bruyckere, Stages & Tales, installation view, Hauser & Wirth Somerset, 2018. © Berlinde De Bruyckere. Courtesy the artist and Hauser & Wirth. Photo: Mirjam Devriendt.
In two powerful sets of new work at Hauser & Wirth’s Somerset outpost, the Belgian sculptor moves beyond her figurative past in an attempt to capture the tragedy of the present day.
Jusepe de Ribera, Apollo and Marsyas, 1637. Oil on canvas, 182 x 232 cm. Museo e Real Bosco di Capodimonte, Naples. Photo: Museo e Real Bosco di Capodimonte on kind concession from the Ministero dei beni e delle attività culturali e del turismo.
This exhibition, the first in the UK dedicated to the work of Jusepe de Ribera, delves in to the motivations behind some of the baroque artist’s most arresting images of suffering.
Canoe prow figure nguzunguzu. Wood, pigments, resin, shell, 16.5 x 9 x 15.5 cm. Marovo Lagoon, New Georgia Archipelago, Solomon Islands, collection Eugen Paravicini 1929, © Vb 7525; Museum der Kulturen Basel. Photo: Derek Li Wan Po, 2013, all rights reserved.
A haunting exhibition that will transport those visiting the Royal Academy of Arts to a world of Pacific gods and powerful ancestors.
Heidi Bucher, installation view at Parasol unit, London, September 2018. Photo: Benjamin Westoby. Courtesy of Parasol unit foundation for contemporary art.
The Swiss artist’s intriguing latex ‘skinnings’ of buildings and objects are shown for the first time in a UK public institution, 25 years after her death.
The Gallery. Photo: Scott Frances. Courtesy: Glenstone Museum.
Mitchell and Emily Rales’s $125m extension of Glenstone – due to open on 4 October – makes it one of the world’s largest private museums, with six buildings, 230 landscaped acres and a formidable collection. The only problem will be getting in.
V&A Dundee, Scotland. View from the River Tay. © HuftonCrow.
Kengo Kuma has delivered a new landmark in the V&A Dundee. It is a craggy sculptural structure inspired by the city’s shipbuilding past and Scotland’s rugged cliffs, which Kuma hopes will reconnect the city with nature. Inside, he has crafted an interior of warmth and welcome. But has he delivered a ‘living room for the city?’.
Banu Cennetoğlu. 1 January 1970 – 21 March 2018 · H O W B E I T · Guilty feet have got no rhythm · Keçiboynuzu · AS IS · MurMur · I measure every grief I meet · Taq u Raq · A piercing Comfort it affords · Stitch · Made in Fall · Yes. But. We had a golden heart. · One day soon I’m gonna tell the moon about the crying game (2018). Installation view, Chisenhale Gallery, 2018. Commissioned and produced by Chisenhale Gallery, London. Courtesy of the artist. Photo: Andy Keate.
Istanbul-based artist Banu Cennetoğlu talks about the List, a documentation of refugees known to have died trying to reach Europe, now on show at the Liverpool Biennial, her recent film at the Chisenhale that spanned more than 128 hours, and the images we create of ourselves and other people.
Martin John Callanan. A Planetary Order (Terrestrial Cloud Globe), 2009. 3D digital print. © Martin John Callanan 2018. Courtesy Parafin, London.
This tightly focused group exhibition explores the human impact on our environment.
Aaditi Joshi.
You may view plastic as rubbish, but for Mumbai artist Aaditi Joshi it is ‘as precious as a gem’. She even covers her body in it to make art. Here, she talks about why she chose it as her medium and describes her process of transforming it.
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