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Enoc Perez in the studio, 2019. Photo: Frederick Egan Castleberry. Courtesy of the artist & Ben Brown Fine Arts.
The New York-based painter discusses his new show, The Cinematic Self, at Ben Brown Fine Arts, his painterly process, the interiors that excite him, and his approach to turning 50
Barry Flanagan, installation view, Ikon, 2019. Courtesy The Estate of Barry Flanagan and Ikon.
The hare dominated his practice to such an extent that it is often all he is remembered for, but this comprehensive exhibition reveals the true breadth of Flanagan’s oeuvre.
Lucy Joyce at E-Werk Luckenwalde 2019. Photo: Anna McNay.
With her six-month inaugural exhibition and a live Aktion ahead of the official opening, Joyce hopes to surprise visitors and make them think – as well as to leave behind something of her collaborative research to guard the new Brandenburgian arts centre.
Doug Aitken. All doors open, 2019. Acrylic, LED, wood 94.6 x 304.8 x 213.4 cm (37 1/4 x 120 x 84 in). © Doug Aitken. Courtesy 303 Gallery, New York; Galerie Eva Presenhuber, Zürich; Victoria Miro, London/Venice; and Regen Projects, Los Angeles.
A humming, interconnected series of unsettling yet eerily beautiful works explores our place in a world governed by technology, but it’s not clear whether Aitken considers us the beneficiaries of this technology or slaves to its constant presence.
Helene Schjerfbeck. Self-portrait, Black Background, 1915. Oil on canvas, 45.5 x 36 cm. Herman and Elisabeth Hallonblad Collection. Finnish National Gallery / Ateneum Art Museum. Photo: Yehia Eweis.
A striking study of the process of ageing and mortality, the central room of this three-gallery exhibition offers a stand-alone journey through this Finnish artist’s life and concerns.
Silvia Ziranek reading a selection of her writing at Art Car Boot, Cabaret Futura programme, London, 2015. Photo: Chrissy Robinson.
The artist discusses her approach to objects and performance, to writing and performing, and to language, the absurdity in life – and the colour pink.
Mona Hatoum, Remains to be Seen, White Cube Bermondsey 12 September - 3 November 2019. © Mona Hatoum. Photo © White Cube (Ollie Hammick).
This engaging exhibition, horrifying and humorous by turn, includes installation, sculptures and works on paper by Hatoum that reflect on our troubled times.
Esther Pearl Watson. Due to Transportation, 2019. Acrylic, collage and glitter on canvas, 91.4 x 91.4 cm. © Esther Pearl Watson, courtesy Maureen Paley, London.
The Los Angeles-based painter presents an offbeat world that reflects on a distinctly American kind of idealism.
The Picture of Health, Jo Spence in collaboration with Rosy Martin, Maggie Murray and Terry Dennet, 1982. Copyright The Jo Spence Memorial Archive, Ryerson University, Courtesy MACBA Collection.
This bold exhibition brings together two challenging female artists insistent on exploring identity and the medicalised body.
Rachel  Howard. Photo: Carla Borel.
The artist talks about her interest in madness and the edge of things and the five large-scale paintings in her show l’Appel du Vide, which opens this month at Blain Southern in New York.
Sammy Baloji, Salzburg International Summer Academy of Fine Arts. Photo: Mira Turba.
The Brussels-based Congolese artist talks about the past and present of colonialism and mineral extraction in the context of his recent exhibition at Salzburg’s Stadtgalerie Museumspavillon, Salzburg Summer Academy.
David Nash speaking to Studio International during the installation of his exhibition 200 Seasons at Towner Art Gallery, Eastbourne, 23 September 2019. Photo: Martin Kennedy.
The Welsh-based land artist talks of his early years, the evolution of his process, the importance of dialogue with materials and the need for his work to communicate the spirit and materials of its place.
Grayson Perry, My Perfect Life, 2019 (detail). Glazed ceramic. Photo: Veronica Simpson.
From the luxurious carpet depicting a homeless man to the Osprey handbag bearing the words ‘private school for my kids’, Perry is not afraid to lampoon the very people who buy his work.
Simphiwe Ndzube, In the Land of the Blind the One Eyed Man is King? 2019. Courtesy of the artist and Nicodim Gallery (Bucharest/ Los Angelos, Stevenson/ Cape Town).
The 15th Lyon Biennale has an ambitious theme and a vast new additional venue. But can it live up to expectations?.
Trevor Paglen: From Apple to Anomaly. Photo © Tim P. Whitby / Getty Images.
As he opens a new project at the Barbican Centre, the artist and critical geographer explains online image sets, surveillance culture and the return of human classification.
Maria Pasenau. Photo: Ida FIskaa.
The young Norwegian photographer talks about fear, red devils, graveyards and reinvesting photography with a sense of truth.
Garth Evans. Hollow Form No. 31, 2004–13. Ceramic, 37 x 63.5 x 45.75 cm. Image courtesy the artist.
You would probably learn more from a foot-high sculpture by Evans than the whole extravaganza that Antony Gormley is about to present at the Royal Academy.
AlanJames Burns, Creswell Crags Cave, Worksop, 2019. Photo: Martin Kennedy.
Burns guides us around the cave where his latest installation is taking place and explains that, historically, caves have played a vital role in the simultaneous evolution of consciousness and creativity.
Fiona Tan: Disorient, installation view, Gallery of Modern Art, Glasgow, 2019. Photo: Ruth Clarke.
Tan’s two-screen video installation is an unsettling look at the legacy of colonialism and a stark reminder that the west’s sense of superiority still persists.
David Batchelor, 2019. Photo: Lucy Dawkins. Courtesy of the Artist and Ingleby, Edinburgh.
Batchelor’s playful exploration of colour through sculpture, installation and painting pays tribute to the original Bauhaus movement while cleverly subverting it.
David Wojnarowicz with Tom Warren, Self-Portrait of David Wojnarowicz, 1983–84. Acrylic and collaged paper on gelatin silver print, 152.4 × 101.6 cm. Collection of Brooke Garber Neidich and Daniel Neidich. Photograph courtesy Museo Reina Sofia.
A comprehensive survey of the impassioned American artist and writer proves his relevance then and now, without stinting from the lows – as well as the highs – of his prodigious output.
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