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Julie Mehretu: Drawings and Monotypes, installation view, Kettle’s Yard, University of Cambridge, 2019. Courtesy the artist, Marian Goodman Gallery, and White Cube. Photo: Stephen White.
In these new works, Mehretu plunges the viewer into her phenomenological, immersive methodology and her mark-making serves to release your own rich store of memories and associations
Illustration of the internal organs and acupuncture points in Shishi bessho zui. Hozumi Koremasa, 1820s. © Royal College of Physicians.
The Royal College of Physicians’ exhibition of anatomical illustrations, from medieval times to the present day, reveals the intersecting histories of medicine, art and politics, explains Under the Skin’s curator, Katie Birkwood.
Studio International spoke to Miriam de Búrca, Joy Gerrard, Mary Griffiths and Barbara Walker ahead of the opening of the exhibition Protest and Remembrance at Alan Cristea Gallery, London, 2019. Photos: Martin Kennedy.
Drawings by four contemporary female artists explore notions of protest and remembrance, from anti-Brexit marches to unconsecrated Irish burial sites, and forgotten black soldiers to former collieries in the north of England.
Mary Griffiths talking to Studio International at the opening of Protest and Remembrance, Alan Cristea Gallery, London. Photo: Martin Kennedy.
In Protest and Remembrance at Alan Cristea, with her large abstract works of plywood, acrylic gesso and graphite, Griffiths aims to capture the splendour of the working-class engineering at a former colliery.
Kip Gresham.
This exhibition shows 40 years of work made by master printmaker Kip Gresham in collaboration with some of the best-known artists from Britain and beyond.
Magdalene Odundo: The Journey of Things. Installation view, The Hepworth Wakefield, 16 February – 2 June 2019. Photograph © Nick Singleton.
The Kenyan-born artist’s lustrous ceramics become the anchor for a voyage through three millennia of objects and artworks.
Rembrandt van Rijnb, Self-portrait with Tousled Hair, c1628–29. De Bruijn-van der Leeuw Bequest, Muri, Switzerland.
For the 350th anniversary of Rembrandt’s death, the Rijksmuseum is staging a once-in-a-generation exhibition – 22 paintings, 60 drawings and 300 prints. It is extraordinary, revealing, inspiring – and a little overwhelming.
Julianne Swartz. Joy, still, 2018. 21:38 mins, 16 channels, electronics, composed soundtracks. Commissioned by Grace Farms Foundation, New Canaan. Courtesy of Julianne Swartz Studio, Stone Ridge and Josée Bienvenu Gallery, New York City. Photo: Eva Deitch.
Swartz talks about Joy, Still, her site-specific sound installation at Grace Farms, and how the multi-use centre in Connecticut, designed by the Japanese-based firm Sanaa, became her instrument.
Erwin Wurm, Untitled (P29), 2018 (detail). Polaroid, 80 x 56 cm. Courtesy Galerie Thaddaeus Ropac, London, Paris, Salzburg. ©  Erwin Wurm/DACS, 2019.
The Austrian sculptor, famed for sheathing social commentary in comic forms, talks about absurdity, handicraft, the mass media and the future.
Netherlands ⇄ Bauhaus: Pioneers of a New World, exhibition view, Museum Boijmans van Beuningen, Rotterdam, 2019.
This show celebrates the centenary of the founding of the Bauhaus, guiding you through the fascinating history of a movement that still has enduring relevance.
Nguyen Trinh Thi. Fifth Cinema (2018). Single-channel video, colour and B&W, sound, 56 mins. Photo: Jamie Maxtone-Graham, courtesy of the artist.
The Vietnamese film-maker talks about documenting female spirits, regional journalism and the ecological destruction of Vietnam’s heartlands.
Hew Locke talking to Studio International at his London studio, 5 February 2019. Photo: Martin Kennedy.
Hew Locke discusses monarchy, nationhood, bigotry, boats, Brexit and the seductive silliness of TV’s historical dramas, before the opening of his show at the Ikon Gallery, Birmingham.
Zuza Golińska’s Run-Up (2015),  installation view, Power play, 2019, 25 January - 16 March 2019. Photo: Tim Bowditch. Courtesy Delfina Foundation, Korean Cultural Centre UK, and SongEun ArtSpace.
With work from artists from South Korea, Europe and the United Arab Emirates, this exhibition considers the nation state and the geopolitics of globalisation.
Joy Gerrard talking to Studio International at the opening of Protest and Remembrance, Alan Cristea Gallery, London. Photo: Martin Kennedy.
In her depictions of mass protests, Gerrard aims to make visible those who attend. For Protest and Remembrance at Alan Cristea, she focuses on anti-Trump and anti-Brexit marches.
Max Burchartz. Tanzfestspiele zum 2. Deutschen tänzerkongress Essen 1928 (Dance Festival at the Second German Dance Congress) poster, 1928.  Printed by F. W. Rohden, Essen. Photolithograph. The Museum of Modern Art, New York, Purchase Fund, Jan Tschichold Collection, 326.1937. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY. © 2018 Artist Rights Society (ARS), New York / VG Bild-Kunst, Bonn.
Drawing on materials Tschichold collected, this exhibition traces his influence on graphic design between the world wars and his belief that design was a force for social change.
Caspar David Friedrich, 1989 by Claudio Parmiggiani. Black monochrome canvasses, boat. © Collezione Maramotti.
In 2007, the formidable art collection of Achille Maramotti, the man behind the Max Mara fashion house, was opened to the public. Sara Piccinini, senior coordinator of the collection, talks about the history of the collection, and the thinking behind its first rehang.
Phyllida Barlow in her exhibition cul-de-sac at the Royal Academy of Arts, London. Artwork: Courtesy the artist and Hauser & Wirth. © Phyllida Barlow. Photo: © Royal Academy of Arts, London. Photograph: David Parry.
This exhibition of new work is more pared back than we have come to expect from Barlow. Her aim, she says, is ‘to come back to what is essential’.
Imre Bak talking to Studio International at the opening of his exhibition at Mayor Gallery, London, February 2019. Photo: Martin Kennedy.
The neo-avant-gardist recalls cold war isolation, his enduring commitment to geometric abstraction, and the importance of maintaining Hungarian traditions in his art.
Makeshift, gallery view, 2018. Foreground: Brad Kahlhamer and Cleo Kahlhamer, Super Catcher/Ultra Cruiser. Background (left to right): Odili Donald Odita, Panic; Alison Elizabeth Taylor, Shed Bed Chain Link Forest Scorpion Sunrise; Greg Smith, TINA (There Is No Alternative).
Through site-specific installations, this visually splendid exhibition explores the role of the artist’s studio in contemporary practices.
Harald Sohlberg. Fisherman’s Cottage, 1906. Art Institute of Chicago, Gift of Edward Byron Smith.
Harald Sohlberg’s paintings of Norwegian houses and snowy mountains are saturated with colour and mystery, making Dulwich Picture Gallery’s exhibition of his work the perfect way to see out the winter months.
Eva van Tongeren. © the artist.
Corresponding with a jailed paedophile led Van Tongeren to collaborate with him to make a film. She discusses their relationship and the moral and ethical implications of working with someone who has committed such a heinous crime.
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