Burns guides us around the cave where his latest installation is taking place and explains that, historically, caves have played a vital role in the simultaneous evolution of consciousness and creativity.
Tan’s two-screen video installation is an unsettling look at the legacy of colonialism and a stark reminder that the west’s sense of superiority still persists.
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Batchelor’s playful exploration of colour through sculpture, installation and painting pays tribute to the original Bauhaus movement while cleverly subverting it.
A comprehensive survey of the impassioned American artist and writer proves his relevance then and now, without stinting from the lows – as well as the highs – of his prodigious output.
An exquisite exhibition at the Prado reveals the most joyous and serene of Italian artists as a pivotal figure in the development of the Renaissance.
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At the Merz Foundation in Turin, on the occasion of its third art prize, Bertille Bak reflects on a Romany community living on the periphery in Paris.
In her first institutional solo show, the German artist plays on the fast fickleness of commodification, trend and fashion.
![Ima-Abasi Okon, Infinite Slippage: nonRepugnant Insolvencies T!-a!-r!-r!-y!-i!-n!-g! as Hand Claps of M’s Hard’Loved’Flesh [I’M irreducibly-undone because] —Quantum Leanage-Complex-Dub, 2019. Installation view, Chisenhale Gallery, 2019. Commissioned and produced by Chisenhale Gallery, London. Courtesy of the artist. Photo: Andy Keate.](/image_home.php?image=images/articles/o/090-okon-ima-abasi-2019/02__Ima-Abasi-Okon-at-Chisenhale-Gallery_Photo-Andy-Keate.jpg)
Old air-conditioning units, poor-quality ceiling tiles coated with ultrasound gel and gold – the utilitarian and the precious come together in Okon’s fascinating installations.
Warner, design director of multimedia visual artists and impresarios 59 Productions talks about collaborative creativity, working across global as well as technical boundaries, sources of inspiration and how technology should always be subservient to the story.
Through video installation, sculpture and printmaking, Staff uses a play from 1810 as a vehicle to explore queerness and sexual identity in today’s world.
This is a fascinating insight into the joyous experimental work of this Hungarian-born artist, who started out by subverting the cultural policy of her country’s socialist regime .
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Following an exhibition based on Robinson Crusoe and a new book of photographs of South Africa’s disused railway lines, Palmer’s latest projects are on Irish independence and Russia’s Kronstadt Mutiny. He explains how he chooses his subjects.
Van Harskamp is a woman obsessed by language. Here she talks about people’s names, what she calls “linguistic biographies” and how languages evolve as people from different places speak them.
An exhibition of artists’ books, including works by Yves Klein, Andy Warhol and Thomas Hirschhorn, unfolds in three chapters.
The sociologically inclined Landy is creating an exhibition marking the 50th anniversary of the Kaldor Public Art Projects. He discusses the challenges of reviving archival ghosts, his enduring fascination with artistic failures, and Kaldor’s doggedness in realising his ambitious scheme.
Gallerist Leila Heller talks about showing Andy Warhol and Jean-Michel Basquiat in the 1980s, after meeting them in New York clubs, promoting artists from the Middle East, her current show curated by Warhol’s muse – and why she has just moved her gallery back to where it all began.
Perhaps this is an idea that looked good on paper, but with its dark slate roof and unstable-looking structure, Junya Ishigami’s pavilion is oppressive and unwelcoming.
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The Andermatt Concert Hall is a world-class auditorium, the first in the Swiss Alps, designed by architect Christina Seilern to help transform this former army town into a new destination for culture, as well as sport and tourism.
This remarkable show traces Giacometti’s artistic career, displaying his works alongside those of some of his contemporaries and making clear his belief that drawing was the basis of everything.
Iranian artist Maryam Najd talks about her exhibition at the Arthur M Sackler Museum of Art and Archaeology in Beijing and why she chose to embark on a project researching the national flowers of the world.
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This bold exhibition brings together two challenging female artists insistent on exploring identity and the medicalised body.
The artist talks about her interest in madness and the edge of things and the five large-scale paintings in her show l’Appel du Vide, which opens this month at Blain Southern in New York.
The Brussels-based Congolese artist talks about the past and present of colonialism and mineral extraction in the context of his recent exhibition at Salzburg’s Stadtgalerie Museumspavillon, Salzburg Summer Academy.
The photographer talks about his new book, Coast, and his aim of sucking viewers in with a narrative and then taking them to a point of incoherence so that they look at things anew.
A display of paintings by Spanish Renaissance painter Bartolomé Bermejo forms a picture of religious upheaval and artistic excellence.
Luvera is the editor of Photography for Whom?, a new journal focusing on community photography projects. Here, he talks about lesser-known works from a movement that began in the 1970s, as well as contemporary practices.
McGurn talks about motherhood, sleeplessness and strangeness in Glasgow, Berlin and Ibiza, and how they have fed into the work for her new exhibition at Tate Britain.
Focusing on works done in the final four years of Avery’s career, these portraits depict the people and motifs closest to him.
Wood’s tragicomic paintings explore the apathetic alienation symptomatic of a networked, throwaway society, in which our understanding of ‘self’ is determined through the consumption of goods and images.
This show explores the ways in which collage has been used to create work that is, by turns, playful, chaotic, expressive and innovative.
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