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Martin Parr – Interview

Documentary photographer Martin Parr’s latest exhibition, Only Human, at the National Portrait Gallery, is all about us – us humans, but especially us British. Here, he talks about cake, collecting and Britain in the time of Brexit

Online Dating Profile Picture, Hey Saturday, London, England, 2016 (detail). Image courtesy Saskia Nelson, Hey Saturday.
Pascale Marthine Tayou, Plastic Bags, 2019. Presented by Richard Taittinger Gallery, New York, and Galleria Continua, San Gimignano, Beijing, Les Moulins, Havana. Photo @ Mike Vitelli.
From historical displays to recent works by relatively unknown artists, from performance to installation, from politically provocative and conceptual pieces to ornamental presentations, this year’s Armory presented a well-measured display of opposing – even conflicting – trends within the art world .
Hew Locke talking to Studio International at his London studio, 5 February 2019. Photo: Martin Kennedy.
Hew Locke discusses monarchy, nationhood, bigotry, boats, Brexit and the seductive silliness of TV’s historical dramas, before the opening of his show at the Ikon Gallery, Birmingham.
Zuza Golińska’s Run-Up (2015),  installation view, Power play, 2019, 25 January - 16 March 2019. Photo: Tim Bowditch. Courtesy Delfina Foundation, Korean Cultural Centre UK, and SongEun ArtSpace.
With work from artists from South Korea, Europe and the United Arab Emirates, this exhibition considers the nation state and the geopolitics of globalisation.
Joy Gerrard talking to Studio International at the opening of Protest and Remembrance, Alan Cristea Gallery, London. Photo: Martin Kennedy.
In her depictions of mass protests, Gerrard aims to make visible those who attend. For Protest and Remembrance at Alan Cristea, she focuses on anti-Trump and anti-Brexit marches.
Max Burchartz. Tanzfestspiele zum 2. Deutschen tänzerkongress Essen 1928 (Dance Festival at the Second German Dance Congress) poster, 1928.  Printed by F. W. Rohden, Essen. Photolithograph. The Museum of Modern Art, New York, Purchase Fund, Jan Tschichold Collection, 326.1937. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY. © 2018 Artist Rights Society (ARS), New York / VG Bild-Kunst, Bonn.
Drawing on materials Tschichold collected, this exhibition traces his influence on graphic design between the world wars and his belief that design was a force for social change.
Caspar David Friedrich, 1989 by Claudio Parmiggiani. Black monochrome canvasses, boat. © Collezione Maramotti.
In 2007, the formidable art collection of Achille Maramotti, the man behind the Max Mara fashion house, was opened to the public. Sara Piccinini, senior coordinator of the collection, talks about the history of the collection, and the thinking behind its first rehang.
Phyllida Barlow in her exhibition cul-de-sac at the Royal Academy of Arts, London. Artwork: Courtesy the artist and Hauser & Wirth. © Phyllida Barlow. Photo: © Royal Academy of Arts, London. Photograph: David Parry.
This exhibition of new work is more pared back than we have come to expect from Barlow. Her aim, she says, is ‘to come back to what is essential’.
Imre Bak talking to Studio International at the opening of his exhibition at Mayor Gallery, London, February 2019. Photo: Martin Kennedy.
The neo-avant-gardist recalls cold war isolation, his enduring commitment to geometric abstraction, and the importance of maintaining Hungarian traditions in his art.
Makeshift, gallery view, 2018. Foreground: Brad Kahlhamer and Cleo Kahlhamer, Super Catcher/Ultra Cruiser. Background (left to right): Odili Donald Odita, Panic; Alison Elizabeth Taylor, Shed Bed Chain Link Forest Scorpion Sunrise; Greg Smith, TINA (There Is No Alternative).
Through site-specific installations, this visually splendid exhibition explores the role of the artist’s studio in contemporary practices.
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.
Julie Mehretu. Monotype #19, 2018. Monotype with printer ink and occasional acrylic on Hahnemuhle Copperplate 300gsm, 55.9 x 73.7 cm. © Julie Mehretu. Photo © Rebecca Fanuele.
In these new works, Mehretu plunges the viewer into her phenomenological, immersive methodology and her mark-making serves to release your own rich store of memories and associations.
Barby Asante: Declaration of Independence, 2019. BALTIC Centre for Contemporary Art. © 2019 BALTIC.
With Declaration of Independence at the Baltic, Asante makes space for womxn of colour to relate narratives and reflect on the nature of independence.
Barbara Walker talked to Studio International before the opening of Protest and Remembrance, Alan Cristea Gallery, London. Photo: Martin Kennedy.
Walker scours archives for images on which to base her drawings of black soldiers. She talks here as she creates a wall drawing for the show Protest and Remembrance at Alan Cristea.
Miriam de Búrca talking to Studio International at the opening of Protest and Remembrance, Alan Cristea Gallery, London. Photo: Martin Kennedy.
With her detailed drawings of plants growing on the graves of Ireland’s excommunicates and other unblessed souls, De Búrca, now on show in Protest and Remembrance at Alan Cristea, hopes to restore the dignity of those the Catholic church abandoned.
M9 Museum Building (right) and Administrative (left). Photo: Jan Bitter.
Italy’s first all-digital history museum, M9, has opened across from Venice. With its sleek, ceramic-tiled buildings and inspired public spaces, its architect, Sauerbruch Hutton, has made quite a statement.
Phoebe Boswell talking to Studio International about her exhibition The Space Between Things at Autograph, London, 25 February 2019. Photo: Martin Kennedy.
Boswell’s latest exhibition, The Space Between Things, which includes a video of her undergoing an eye operation, uses art as a way to connect with others whose wounds may otherwise remain unseen.
Ghislaine Leung, Parents, 2019. Commissioned and produced by Chisenhale Gallery, London. Courtesy of the artist. Photo: Andy Keate.
In Leung’s new installation, it is clear she has a point to make. Just what that point is, though, is not so clear.
Kader Attia: The Museum of Emotion, installation view, Hayward Gallery. Copyright the artist, courtesy Hayward Gallery 2019.
Attia offers an impassioned critique of the enduring effects of colonialism. Central to the French-Algerian artist’s sculptures, installation, collages, videos and photographs is the idea of post-colonial repair, as both a physical and symbolic act.
Htein Lin. A Show of Hands, installation view, Albright-Knox Art Gallery, Buffalo, New York, 16 February 2019 – 28 April 2019. Image courtesy the artist.
Htein Lin was imprisoned for challenging the military dictatorship in Myanmar. Here, he talks about his time in jail and his sculptural installation A Show of Hands, a testament to former political prisoners, now on show at the Albright-Knox Art Gallery in Buffalo, New York.
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.
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