‘I was always drawing with my mother, and making things with my mother,’ says the artist.
Loie Hollowell talks about her latest exhibition at Pace Gallery, London, her first solo show in the UK, and how trying for a baby has influenced her work.
The Dutch sculptor Lily Lanfermeijer discusses tableware, colonial histories and the passing of patterns between continents.
As the V&A this week opens an exhibition that celebrates groundbreaking innovations in video game design, its curator, Marie Foulston, discusses the medium’s radical development over the past 20 years, and why now is the right time for a show of this kind.
The Leopold’s breathtaking retrospective of pioneering Viennese photographer Dora Kallmus’s work provides a glorious, if melancholic, perspective on the turbulent times in which she lived.
![Agostino Bonalumi. Blue abitabile (opera ambiente) [Inhabitable Blue (environmental artwork], 1967. Shaped canvas and vinyl tempera, 300 x 340 cm. Private collection. © ALTO//PIANO – Agostino Osio photography.](/image_home.php?image=images/articles/b/072-bonalumi-2018/Blue-abitabile-(opera-ambiente)-2.jpg)
The first retrospective of Bonalumi’s sculptural exploration of canvas, colour and material since his death is nothing if not comprehensive, consolidating his place within Italy’s postwar avant garde and the influence he has exerted on subsequent artists and architects.
Tate Modern’s exhibition on magic realism brings together the works of troubled minds from turbulent times.
With Wilding’s show Right Here and Out There and Peake’s RITE on concurrently at the De La Warr Pavilion in Bexhill, the artists talk about their practice.
Stirring and challenging, this frontal look at ecstasy revels in desire as it pits the age-old tradition of nude models against our #MeToo moment.
Patricia Guzman’s expertly executed realism makes her paintings appear photographic, as she documents faces that attract her sympathy, often closeup.
Spellbound is an exhibition that not only examines the superstitious practices that governed our ancestors, but also exposes those we still cling to today .
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.
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.
The 10th edition of Britain’s largest contemporary art festival explores oppressive structures, endangered histories and a world in constant flux.
The Leopold Museum in Vienna celebrates the work of two of its greatest painters, Gustav Klimt and Egon Schiele, with concurrent exhibitions that underline their enduring relevance.
The artist-curator Tamsyn Challenger talks about Free the Pussy!, the exhibition she has curated to showcase works made in response to Pussy Riot’s arrest in 2012, and the more general need for women to speak out, take control and reclaim their pussies.
The London-based artist Simon English talks about chance, addiction and the wilful act of drawing.
In this exhibition, which includes seven photographs and several blank walls, the US photographer investigates systems of meaning and classification.
Mud, blood, fire and water: a touring exhibition of the Cuban American artist affirms her continuing relevance while revealing her formidable skill as a film-maker.
In a riveting, large-scale work called Moss Ball: A Meditation on the Overview Effect (2018), E.V. Day makes some unlikely, and therefore all the more intriguing, connections.
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.
This tightly focused group exhibition explores the human impact on our environment.
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.
With walls made of stacked concrete roof tiles and a welcoming sequence of interior spaces, Mexico’s Frida Escobedo has created an easily replicable, accessible and enchanting structure for the 18th Serpentine Pavilion commission.
The artist and illustrator talks about her current exhibition, Language Shift, the Endangered Poetry Project, her etymological alphabet, and why each language is so important to its culture.
This exhibition of Kelly’s work seeks to cut to the core of his practice, primarily through two sets of extraordinary lithographs from the mid-1960s, and traces a compelling link between his figurative and abstract work.
Goody, herself of Dalit heritage, talks about discrimination in India against the Dalits and how, in her first solo exhibition, she is using photographs of her family and turning Dalit literature into recipes, to highlight the significant and complex relationship with food among a people historically denied it.
The artist discusses the transmigration of the soul, the transformative properties of clay, and using art as a way of mourning.
The Benin-born artist Thierry Oussou reflects on his artistic practice, the need for repatriation of cultural objects, and art and culture in Africa more generally.
Tai Xiangzhou is committed to a traditional lexicon, his ink paintings magnificent, deeply indebted to classic Chinese ink paintings while they simultaneously demonstrate the influence of baroque and mannerist paintings and contemporary practices.
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