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Ed Atkins
Ed Atkins, Pianowork 2, 2024, installation view, Tate Britain, 2 April – 25 August 2025. © Tate Photography (Josh Croll).
In this major retrospective, the viewer is like an avatar navigating the humans – real and CGI – that populate Atkins’ world of existential dread
Chaar Yaar (the Faqiri Quartet) closing the Sharjah Art Foundation’s annual symposium, 2025.
Sharjah Art Foundation’s annual symposium this year explored how culture is preserved and shared within communities.
Charlotte Verity and Christopher Le Brun, 2024. Photos: Simon Dawson.
To coincide with a rare joint exhibition now on view at The Gallery at Windsor in Florida, the artists consider the limitless possibilities of paint, their resistance to genre boundaries and the importance of keeping a harmonious distance between one another’s work.
Valentina Karga: Well Beings, installation view, Kunstmuseum Bochum, Germany, 29 March – 31 August 2025. Photo courtesy Kunstmuseum Bochum.
The artist highlights the ecological horrors ravaging our world, but her aim is not to shock or to shame. With her cosy sofas and sensory objects, she wants us to find ways to deal with the anxieties and conflicts we face.
Left: Peter Mitchell, Francis Gavan, Ghost Train Ride, Woodhouse Moor, Leeds, Spring 1986, © Peter Mitchell. Right: Peter Mitchell, The Kitson House telephone, Quarry Hill Flats, 1978 © Peter Mitchell.
Mitchell’s photographs of urban decay and the demolition of buildings in Leeds over the past 50 years show a world now vanished, but his empathy for his subjects shines through.
Lee Bul. Left: Long Tail Halo: CTCS #1, 2024; Right: Long Tail Halo: CTCS #2, 2024. Stainless steel, ethylene-vinyl acetate, carbon fibre, paint, polyurethane. Courtesy the artist. Images: The Metropolitan Museum of Art, Photo by Eugenia Burnett Tinsley.
Lee’s headless heroines and canines are the fifth of the Met’s Genesis Facade Commissions. But what do the Korean artist’s sculptures represent, and what are the influences behind these fantastic creatures?.
Lina Lapelyté in the garden at The Cosmic House, 2025. Photo: Veronica Simpson.
Perhaps best known for her eco-opera Sun & Sea (Marina), Lapelytė discusses her approach to improvisation and collaboration, the joy of interacting with architecture and the virtuosity of listening and her new installation at The Cosmic House, London.
Tom Anholt, Deep Dive, 2022. Courtesy Josh Lilley, London. Copyright Tom Anholt and Josh Lilley. Photo: Gunter Lepkowski.
Spanning four centuries and diverse cultures, this show of more than 7o works, including paintings, prints, drawings and objects, explores the mysteries and myths of the world beneath our oceans.
Oskar Kokoschka, The Dreaming Youths (title page; The Sleeping Girl), 1907. One of eight colour lithographs, 24 x 29.3 cm.
With highlights from the Courtauld’s collection of German and Austrian modernist works on paper and some noteworthy loans, this is a must-see exhibition for anyone interested in early modernist expressionism and the graphic arts.
Laurie Simmons, The Music of Regret IV, 1994 (detail). Cibachrome print, 19 1/2 x 19 1/2 in. National Museum of Women in the Arts, Promised gift of Steven Scott, Baltimore, in honour of NMWA Director Susan Fisher Sterling. © 2019 Laurie Simmons.
Louise Bourgeois, Sheida Soleimani and Gillian Wearing are among the 30 female artists contributing to a show that is challenging, unsettling and sometimes downright uncomfortable.
Rafał Zajko, Denim, 2025. Performance in collaboration with
Contemporary Elders and Agnieszka Szczotka at Focal Point
Gallery, Southend-on-Sea, 2025. Photo: Amber Merry.
In this mind-blowing and dazzling exhibition, Zajko takes us into a mysterious realm of art and domesticity, of manufacturing and consumption.
Birmingham Chapter series, 2024-. Digital C–Type prints. Installation view, Mahtab Hussain, What Did You Want To See? Ikon Gallery, 2025. Image courtesy Ikon. Photo: David Rowan.
With portraits of mosques and people at prayer, the British Asian artist documents the racist stereotyping typically experienced by Muslims across his home city of Birmingham.
Wassily Kandinsky, Two Riders Against a Red Background, 1911. Colour woodcut (print). © Staatliche Museen zu Berlin, Kupferstichkabinett / Dietmar Katz.
This show retraces the roots of the expressionist artists who made up the Blue Rider group, looking at the influences and connections that shaped them.
Celia Paul, Reclining Painter, 2023. Oil on canvas, 121.9 x 182.9 cm (48 x 72 in). © Celia Paul. Courtesy the artist and Victoria Miro.
Two concurrent solo exhibitions paint a much broader portrait of the artist Celia Paul, debunking the myth of her as a recluse and showing us some of who and what went into making her her.
Installation view, Yto Barrada: Deadhead, Fondazione Merz, Turin, 2025.
In her films, sculptures, tapestries and prints Barrada plays with the materiality of colour.
Installation view, Edvard Munch Portraits, National Portrait Gallery, London, 2025. © David Parry.
The artist’s portraits have flown under the radar, but getting to know his sitters reveals a lot about Munch himself.
Delaine Le Bas speaking to Studio International at the opening of Stranger in Silver Walking on Air at the White House, Dagenham. Photo: Martin Kennedy.
From the heart of her installation at the White House in east London, the Romany artist talks about her inspirations, her processes, and how she seeks to deconstruct the stereotypes, language and images that are used to exclude Gypsy, Roma and Traveller communities in broader society.
Olivia Bax in the studio, 2020. Photo: Jean-Philippe Dordolo.
The sculptor talks about curating These Mad Hybrids: John Hoyland and Contemporary Sculpture, now at the Millenium Gallery, Sheffield, her early career as Anthony Caro’s assistant and why humour is so vital to her work.
Victor Hugo, Octopus, 1866–69. Brown ink and wash and graphite on paper, 24 x 20.7 cm. Bibliothèque nationale de France, Département des Manuscrits.
The Royal Academy’s new exhibition reveals the mighty French novelist as a fascinating, ever-experimental artist.
Lev Manovich. Drawing Rooms, 2023. Digital images created with Generative AI and edited in Lightroom Print. L85 cm (33.5 in). © the artist.
The exhibition presents a gamut of international artists who work with artificial intelligence in various ways, exploring a wide range of possibilities offered by this latest technological development.
Duccio, Duccio Maestà - Panels, The Temptation of Christ on the Mountain, about 1308-11. Tempera on poplar, 43.2 x 46 cm. The Frick Collection, New York. Purchase 1927 (1927.1.35). © Copyright The Frick Collection / Photo: Michael Bodycomb.
The National Gallery’s meticulously researched exhibition of medieval Sienese masterpieces is an amassing of wonders that’s worth its weight in gold.
Somaya Critchlow, The Chamber II, 2024. Oil on linen, 115 x 90 cm. © Somaya Critchlow. Courtesy the artist and Maximillian William, London. Photo: Prudence Cuming Associates Ltd.
Critchlow’s six sombrely sexy paintings respond to European painting from the 17th and 18th centuries, asking us to look and look again.
A group of hand-built ceramic vessels with coloured slips by Elizabeth Fritsch. © The Artist. Image courtesy Adrian Sassoon, London. Photo: Sylvain Deleu.
With many objects drawn from Fritsch’s private collection, this first retrospective of the ceramicist in 15 years presents a rare opportunity to see her works.
Portia Zvavahera. Photo: Neil Hanna.
In her only in-person interview for her latest UK show, now at Fruitmarket, Edinburgh, the artist discusses the role of dreams and her spirituality in the narratives and atmospheres vividly evoked in her transcendental paintings.
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