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We the People, Nari Ward’s latest exhibition, at New Museum, New York, underlines the critical role the city has played in his career. Here, he discusses the importance of Harlem, the neighbourhood that continues to inform his work
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.
Jeff Koons. Seated Ballerina, 2010–15 (detail). Mirror-polished stainless steel with transparent colour coating, 210.8 x 113.5 x 199.8 cm. Collection of the artist. © Jeff Koons. Photo: Fredrik Nilsen, 2017. Courtesy Gagosian.
From a balloon bunny to a vast, glossy pink Venus of Willendorf, there is everything we would expect from Koons at his latest exhibition at the Ashmolean – but there is also a sense that he has run out of new ideas.
Don McCullin, Tate Britain, 5 February – 6 May 2019. Photograph: Tate Photography (Matt Greenwood).
McCullin is widely known as a war photographer, but this comprehensive and unflinching exhibition, covering 60 years of his photojournalism and more, shows the full scope of his work.
Phil Collins, Ceremony, 2018. Installation view, Cooper Gallery, Dundee, 2019. Photograph: Sally Jubb. Courtesy Shady Lane Productions.
The artist talks about his latest exhibition, Ceremony, which documents the statue’s journey, and explains why Engels has such relevance in contemporary Britain.
Daria Martin © Courtesy Maureen Paley, London.
The 2018 Jarman Award-winner talks about Franz Kafka, mirror-touch synaesthesia and her film Tonight the World, which involved curating her grandmother’s dreams.
Installation view: Bloomberg New Contemporaries, South London Gallery, 2018. Photo: Andy Stagg.
From this annual showcase of new talent, we pick five artists to watch, from Yushi Li’s erotically charged photograph from her My Tinder Boys series to Madelynn Mae Green’s painting of three children on a bed.
Otto Mueller. Self Portrait with Pentagram, around 1924. Distemper on hessian, 120 x 75.5 cm. Von der Heydt-Museum Wuppertal. © Von der Heydt-Museum Wuppertal. Photo: Antje Zeis-Loi, Medienzentrum Wuppertal.
Exploring the life, work and artistic times of the German expressionist artist Otto Mueller, this exhibition revives the lively cultural exchange of the early 20th-century between Berlin and Wrocław.
Betty Yu. Photo courtesy of the artist.
New York-based artist Betty Yu talks about the gentrification of her neighbourhood in Brooklyn and what galleries can do to help.
Egon Schiele. Group of Three Girls, 1911. Pencil, watercolour and gouache with white gouache heightening on packing paper, 44.7 x 30.8 cm. The Albertina Museum, Vienna. Exhibition organised by the Royal Academy of Arts, London and the Albertina Museum, Vienna.
Commemorating the centenary of the deaths of two of Austria’s great modernist artists, this exhibition showcases 100 drawings on loan from the Albertina Museum and proves them to be far more than just erotic sketches.
Maja Hoffman and Jorge Pardo, hotel L’Arlatan, Arles. Photo: Pierre Collet.
Pardo and his team have transformed a tired French hotel in Arles into a work of art, designing and making a million handmade tiles, almost every piece of furniture and hundreds of his signature light fittings.
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.
Doug Aitken, Mirage, installation view, Gstaad, 2019. Photo: Veronica Simpson.
Set in the spectacular alpine resort of Gstaad, the Elevation 1049 festival explores contemporary art practice. This year it focused on performance art, with a programme of works over one weekend, and a new Doug Aitken installation, Mirage Gstaad, which will stay put for two years.
Jean-Jacques Lequeu. The Great Lessor, undated. Image: Department of Prints and Photography, BnF.
Deer-headed lodges, globe-shaped temples, sunken pleasure pavilions: a long-overdue exhibition at the Petit Palais unravels the dreamlike world of Lequeu, Revolutionary France’s most eccentric and enigmatic visionary architect.
We Are the People. Who Are You? Installation view, Edel Assanti, London, 2019. © Studio Will Amlot, courtesy Edel Assanti.
As the UK wrestles with Brexit, this show, with the feel of a mini-institutional survey on artists responding to the technological ravaging of liberal democracy, could not have come at a better time.
Eduardo Paolozzi. Metalization of a Dream, 1963. Print, screenprint on paper, 50.5 x 48 cm. Collection: National Galleries of Scotland, bequeathed by Gabrielle Keiller 1995. © Trustees of the Paolozzi Foundation, Licensed by DACS 2018.
In the 1960s, Warhol and Paolozzi believed art would benefit from increasing mechanisation. This show looks at where their differing techniques took them.
JMW Turner (1775-1851). Llanberis Lake and Snowdon - Caernarvon, Wales, about 1836. Watercolour on paper, 24.3 x 33.9 cm. Collection: Scottish National Gallery, Henry Vaughan Bequest 1900. Photo: © National Galleries of Scotland | Antonia Reeve.
From storms thrashing lighthouses to mountaintops enveloped by cloud, from golden piazzas to the Italian Riviera, Turner’s delicate watercolours are stirring visions of the natural world.
Yapci Ramos. Red-Hot, 2015-18. 18 channel video HD Installation with sound, 12 min 05’’ sec. Video still.
Eight key works from the past 15 years, all unapologetically seen from a woman’s perspective, circle around the fluidity of sexuality, identity and the diversity of human behaviour.
Jules Cheret. La Loie Fuller, 1893. Printer: Chaix (Ateilier Cheret), Paris. Lithograph in red, yellow, dark violet, and black ink on paper, 124 x 84 cm. Collection: The Hunterian, University of Glasgow.
In these prints of Paris, Toulouse-Lautrec and his contemporaries bear witness to the enduring appeal of illusion, suggestion and nostalgia.
Shen Fan: Works in Abstraction 1992-2017, installation view, Eli Klein, New York, 2018. Photo courtesy of Shen Fan, ShanghART Gallery and Eli Klein Gallery.
This exhibition presents a survey of works by the Shanghai-based artist whose aim is to open up a dialogue across cultures and chronologies.
Susan Swartz. Spring Muse 8, 2016. Acrylic on linen, 48 x 72 in. Courtesy of Susan Swartz Studios.
Nature, says Swartz, is her primary source of inspiration and her paintings are grounded in the increasingly complex relationship we have with it.
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