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Netherlands ⇄ Bauhaus: Pioneers of a New World

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

Lothar Schreyer, Tulip-Madonna, 1926 (detail). Stained glass, produced by Puhl & Wagner, Gottfried Heinersdorf, Berlin. Chapel of Rudolf Steiner Care, The Hague. Photo: Raphaëlstichting.
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.
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.
Nari Ward. We the People, 2011. Shoelaces, 96 x 324 in (243.8 × 594.4 cm). In collaboration with the Fabric Workshop and Museum, Philadelphia. Collection Speed Art Museum, Louisville, KY; Gift of the Speed Contemporary, 2016.1. © The Speed Art Museum, Louisville, KY.
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.
Cliff Rowe, Woman Cleaning a Locomotive in St Pancras Cleaning Yard, 1942. Watercolour with white on board, 23 x 32 cm. National Railway Museum, York. © Anna Sandra Thornberry, daughter.
Christine Lindey, author of Art for All. British Socially Committed Art from the 1930s to the Cold War, discusses an era of artists committed to their political beliefs and prepared to take a stand with their work.
Vivian Maier. Self-portrait, Chicago area, June, 1978. Chromogenic print, printed in 2018, 16 x 20 in. © Estate of Vivian Maier/Maloof Collection, courtesy Les Douches la Galerie, Paris & Howard Greenberg Gallery, New York.
The Color Work continues the institutional recovery of Maier, whose street photographs of New York and Chicago documented social reality during the cold war era.
Joseph Hillier. Photo: Martin Kennedy.
Sculptor Joseph Hillier talks about his most ambitious project to date, its design, and what it takes to construct a bronze that weighs 9.5 tonnes.
Beatrice Gibson. I Hope I’m Loud When I’m Dead, 2018. Short film, 20 mins. Crone Music, installation view, Camden Arts Centre, 2018. Copyright Beatrice Gibson. Photo: Luke Walker.
Crone Music features two new films by London-based artist Beatrice Gibson. Exploring themes of motherhood and queer kinship, this show considers how one might endure, and finally resist, an unpredictable future .
Margaret Tait, Tailpiece, 1976. Film still. Courtesy of the Margaret Tait estate and LUX Scotland.
In the centenary year of Tait’s birth, this exhibition of short films celebrates her pioneering legacy alongside the work of younger artists whom she influenced.
Lorna Macintyre: Pieces of You Are Here, installation view, Dundee Contemporary Arts, 8 December 2018 – 24 February 2019. Photo: Ruth Clark.
Scottish artist Lorna Macintyre delves into the relationships between people, their objects and their traces, in this fascinatingly forensic yet poetic exhibition at DCA.
(Henry) Mark Anthony (1817–86). Sunset (also known as Rock of Cashel), c1847. Oil on canvas, 45 x 45 in (114 x 114 cm).
This exhibition of artwork from Ireland’s Great Hunger Museum at Quinnipiac University, Connecticut, looks at how the country’s great famine in the mid-19th century still resonates today.
Ceal Floyer. Hammer and Nail, 2018. Video projection with audio, 
dimensions variable. © Ceal Floyer. Courtesy Lisson Gallery.
Ceal Floyer’s subversion of everyday objects continues her meditation on materiality in private and public space.
Installation view, showing Kohei Suiguira’s book designs, from Fluorescent Chrysanthemum Remembered, CCA Laznia, Gdansk, Poland. Photo: Paweł Jozwiak.
A retrospective exhibition, curated by Jasia Reichardt,  celebrates the 1968 ICA show that first brought the Japanese avant garde to Europe.
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