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Rosa Johan Uddoh. Auto Cutie, 2019. Performed in collaboration with the diasporic dance troupe DIDD (Department for International Dance Development).
Rosa Johan Uddoh continues her exploration of popular culture from a black feminist perspective by reimagining the BBC broadcaster Moira Stuart
David Lewis and Billy Gerard Frank speaking to Studio International at the opening of Epic Memory, Grenada Pavilion, Venice Biennale 2019. Photo: Martin Kennedy.
Two quite different artists who have distinct and diverse relationships with the islands of Grenada and its people meditate on the impact these roots have had on their work and their identities.
Callum Hüseyin (left), Let’s Finish It. Photo courtesy Institute of Cancer Research.
Taking as inspiration the stories of scientists, donors and patients and creating a breathtakingly beautiful – and, as yet, unfinished – piece of music, Hüseyin is collaborating with the Institute of Cancer Research and the Royal Philharmonic Orchestra to fundraise for a new building. His work will be completed only once the building is finished.
Kevork Mourad speaking to Studio International during the making of Seeing Through Babel at the Ismaili Centre in London, June 2019. Photo: Martin Kennedy.
We visited Mourad at the Ismaili Centre in London to witness the creation of his latest work, a six-metre hanging sculpture. He explains the ideas behind it and the techniques he uses.
Nicole Eisenman, Grouping of Works from Fountain, 2017-2019. 401 Park Collection, Samuels & Associates, Boston, Massachusetts. Courtesy of Goodman Taft. Photo: Charles Mayer. Courtesy the artist / Anton Kern Gallery, New York © Nicole Eisenman.
Eisenman’s Groupings of Works from Fountain, three sculptures joyfully spouting or spitting water into the air in sparkling arcs, were unveiled last month at the Fenway in Boston. The extreme likability of these oversized creatures is sure to make them crowd pleasers.
Lucio Fontana, Spatial Concept, Expectation, 1959. Oil on canvas with slashes, 90.8 x 90.8 cm. Olnick Spanu Collection, New York. © Fondazione Lucio Fontana, Bilbao, 2019.
A miraculous retrospective revivifies the Argentine-Italian painter and sculptor, laying bare the breath of his vision and revealing an artist constantly surging forward.
Linda Fleming: Allusion, installation view of Gossamer, Robischon Gallery 2019. Image courtesy Robischon Gallery.
Although these four solo exhibitions – hosted side by side – are each distinctive, they all contain “slow” works that make you focus on them as they present ideas about abstraction, painting, sculpture and beauty.
Dulwich Pavilion 2019: The Colour Palace, by artist Yinka Ilori and architects Pricegore. Photo: Adam Scott.
The Colour Palace is a monumental temporary pavilion by artist Yinka Ilori and architects Pricegore, bringing the heat and vibrant hues of Nigerian markets and mosques to the Sir John Soane-designed Dulwich Picture Gallery. But does it do more than simply draw attention and add ornament?.
Julie Cunningham, portrait. Photo: Rick Guest.
Seeking to erase embedded patriarchal structures and fixed gender identities through dance, Julie Cunningham’s choreography is often inspired by feminist texts. Their new work for Art Night 2019 promises to be full of energy – all night long!.
Installation view, Wohl Central Hall, Royal Academy Summer Exhibition 2019. Photo: © David Parry/ Royal Academy of Arts.
The spectacle that is the Royal Academy Summer Exhibition and the stylishness of its visitors has, it seems, never waned and, from the outset, the press has contributed to its reputation. Its visitors are just as important as the artworks they come to see.
Antoni Tàpies, Duat, 1994. 250 x 600 cm. © Antoni Tàpies. Courtesy Waddington Custot.
This exhibition is a tribute to six 20th-century artists who drew inspiration from the street art and graffiti they found in their cities, in a celebration of mark making both ancient and modern.
Ivon Hitchens, Spring in Eden, 1925. Oil on canvas, 49 x 59.5 cm. Swindon Museum and Art Gallery © The Estate of Ivon Hitchens.
This thought-provoking exhibition, the largest on Hitchens since 1989, deftly explores the enigmas of his work in a career that spanned an incredible six decades.
Cindy Sherman. Untitled #92, 1981. Chromogenic print, 61 × 121.9 cm. Collection of Cynthia and Abe Steinberger.
Sherman was fascinated by the ambiguous nature of appearances and she throws out clues to entice viewers into forming their own interpretations of her work.
Andrea Luka Zimmerman.
Luka Zimmerman talks about her interest in people on the margins, her collaborative process, and that fine line between reality and fiction, explored in her latest film, Here for Now.
Nikhil Chopra. Coal on Cotton, 2013. Commissioned by Manchester International Festival and the Whitworth Gallery, Manchester. Costume Design Sabine Pfisterer. Photograph: Sabine Pfisterer. Image courtesy the artist.
Nikhil Chopra, the 2019-2020 artist in residence at New York’s Metropolitan Museum of Art, talks about his live performance there later this year, and about wanting to give the artist as much importance as a scientist, a journalist or a historian.
Nunzio: The Shock of Objectivity, installation view, Mazzoleni, London, 2019. Courtesy Mazzoleni, London-Torino.
The elegantly cryptic, scorched sculptures and lustrous lead reliefs of the Italian artist Nunzio are, for the first time, on view in London at Mazzoleni.
Ibrahim El-Salahi.
Using his art as a form of meditation to alleviate chronic back pain, Sudanese artist Ibrahim El-Salahi turns his medication packets into miniature canvases. He talks here about his intricate drawings and how they are enlarged on to canvases – a mixture of detail and minimalism, suffering past and present, personal and general.
Shirley Tse speaking to Studio International at the opening of Stakeholders, Hong Kong in Venice 2019. Photo: Martin Kennedy.
The artist talks about accommodation and negotiation as expressed in her Venice installation, Stakeholders: a multi-dimensional sculpture using hand turned wood and 3D printed elements.
Remy Jungerman speaking to Studio International at the opening of The Measurement of Presence, Dutch Pavilion, Venice Biennale 2019. Photo: Martin Kennedy.
Jungerman and Kensmil’s installations for the Dutch Pavilion explore issues of race, identity, culture, history and art history. Here, at the opening of the show, Jungerman talks about the sources of his work in Dutch and European modernism, Winti, an Afro-Surinamese religion, and his Maroon ancestry.
Shu Lea Cheang speaking to Studio International at the opening of 3x3x6, Taiwan for Venice 2019. Photo: Martin Kennedy.
Shu Lea Cheang’s multi-media installation for Venice uses its ancient prison setting well to explore the biographies of historical and contemporary sex offences, and ponder the impacts of today’s omnipresent digital surveillance.
Simone Kenyon, Into The Mountain, performance, 30 May - 2 June 2019, Cairngorms National Park. Photo: Felicity Crawshaw / Scottish Sculpture Workshop.
Immersive art doesn’t usually involve a 5.30am start and a day hiking in the rain, but Into the Mountain opens us up to the potential of contemporary art practices to be truly adventurous and transformative.
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