logo studio international

Michelangelo Pistoletto: Origins and Consequences

A well-defined exhibition at Mazzoleni, London, trains its eye on Michelangelo Pistoletto’s incipient figurative experiments and their aftermaths

Lotte Laserstein. Russian Girl with Compact, 1928. Oil on panel, 31.7 x 40 cm. Städel Museum, Frankfurt am Main. Photo: Städel Museum – Artothek. © VG Bild-Kunst, Bonn 2018.
Lotte Laserstein was a rising star of Weimar Berlin, forced to leave her country and abandon her artistic aspirations, but with this exhibition of highlights from her peak, there is hope that her name may yet not be forgotten.
Andy Warhol. 129 Die in Jet! 1962. Acrylic and pencil on canvas, 100 x 72 in (254 x 182.9 cm). Installation view, photo: Jill Spalding.
The Whitney’s pantheon exhibition, of close to 300 works, sidelines Andy, the pop artist marketed on posters and mugs, to reveal Warhol, the visionary become meme with a signature vocabulary that still colours the culture.
Andreas Lolis. Untitled, 2018. © PanosKokkinias, Courtesy NEON.
Lolis talks about why he uses marble to sculpt bin bags, wooden crates and other mundane items, in reference to homelessness, the refugee crisis and Greece’s changing society.
Artes Mundi 8, National Museum Cardiff, 2018. Photo: Polly Thomas.
The artists shortlisted for Artes Mundi 8 aim to stir our consciences on everything from abuse of the Earth’s resources to the creep of surveillance and the steel industry’s impact. We talk to two of them, Anna Boghiguian and Otobong Nkanga, about their work.
Otobong Nkanga talking to Studio International at the opening of Artes Mundi 8, National Museum Cardiff, 25 October 2018. Photo: Martin Kennedy.
Otobong Nkanga talks about her inspirations for the works on show at Artes Mundi 8, and her enduring preoccupations with the reciprocity or interconnectedness of emotion and action around the world.
Anonymous. Airship Count Zeppelin landing at the Aspern Airfield near Vienna, 1931. Black-and-white photograph, 23 x 17 cm. © Austrian Archives / Imagno / picturedesk.com.
Vienna’s museum of modern art presents a photographic journey through the past 100 years of Austrian history that reveals how images can change the way we remember events and eras.
Henrike Naumann. Photo: Inga Selch.
Naumann’s careful recreations of 1990s living spaces explore how sudden social and economic change led to the rise of the far right in Germany and Austria.
Tamara de Lempicka, Les deux amies, 1923. Installation view, Modern Couples: Art, Intimacy and the Avant-garde, Barbican Art Gallery, 10 October 2018 – 27 January 2019. © John Phillips / Getty Images.
Modern Couples attempts to retell the story of the modernist avant-garde through creative relationships. But is its intellectual impact marred by its massive scale?.
Phoebe Unwin. Almost Transparent Pink, 2018. Oil on canvas, 51 x 41 cm. © the artist. Courtesy Amanda Wilkinson Gallery, London.
Unwin describes the role of memory in the 10 oil paintings of this solo show and explains why she resists being aligned with any specific group or movement.
Billy Apple speaking to Studio International at The Mayor Gallery, London 2018. Photo: Martin Kennedy.
Billy Apple is not just an artist – he’s a trademarked brand. He talks about exchanging his art for a knee operation and his new exhibition at the Mayor Gallery, London.
Otto and Paula Modersohn sitting in the garden on the bench, c1904. Photo: © Paula Modersohn-Becker Foundation.
A tender testament to the relationship of two artists, whose lives and work are inextricably linked, bringing to life the moor landscapes of northern Germany.
JW Anderson Autumn Winter 2018 campaign. Photograph courtesy of Julie Greve.
The recent art-school graduate, who was selected to photograph this season's campaign for standout British fashion label JW Anderson, discusses her approach to commercial projects and the importance of forming a rapport with her subjects.
John Waters, Playdate, 2006 (foreground). Silicone sculpture of Michael Jackson and Charles Manson. Installation view, The Bunker Artspace, West Palm Beach, Florida. Photo: Jill Spalding.
Given a test run last autumn and reopening on 2 December, The Bunker, a private venue fronting the collection of curator-collector Beth Rudin DeWoody, is a trifecta of firsts; first to give Palm Beach a serious art scene; first to show art as an evolving aesthetic and first of what I anticipate will be the new trend – the show space as self-portrait.
Santiago Sierra. South Pole Documentation, 2015. Ditone archival print on Hahnemuhle Photo Rag. Courtesy of Santiago Sierra Studio & a/political.
This immersive installation documents Sierra’s provocative planting of black flags – symbol of the anarchist movement – at the north and south poles, opening the way for a timely discussion on borders and freedom of movement.
Yayoi Kusama. INFINITY MIRRORED ROOM - MY HEART IS DANCING INTO THE UNIVERSE, 2018. Wood and glass mirror room with paper lanterns, 304 x 622.4 x 622.4 cm (119 5/8 x 245 1/8 x 245 1/8 in). © Yayoi Kusama. Courtesy Ota Fine Arts, Tokyo / Singapore / Shanghai and Victoria Miro, London / Venice.
In the 60s, Kusama was a pioneering artist, but it’s hard not to feel that this show, with its hyped-up pumpkins and mirror room, is more about her status as an Instagram sensation.
Pieter Bruegel the Elder, The Haymaking, 1565. Oak panel, 114 × 158 cm. The Lobkowicz Collections, Lobkowicz Palace, Prague Castle © The Lobkowicz Collections.
Marking 450 years since Pieter Bruegel the Elder’s death, this staggering survey reunites a vast amount of work from the greatest Flemish painter of the 16th century.
Edward Burtynsky. Dandora Landfill #3, Plastics Recycling, Nairobi, Kenya  2016. Courtesy Flowers Gallery, London and Metivier Gallery, Toronto.
Burtynsky’s photographs capture the drama of a planet in flux, combining technical virtuosity with a powerful message about climate change and our role in destroying the Earth.
Damien Coulthard.
To mark its 30th anniversary, Rebecca Hossack Gallery is showing the Australian artist Damien Coulthard. Here, he talks about painting the creation stories of his people, the Adnyamathanha.
Goldsmiths Centre For Contemporary Art, entrance view. Image courtesy of Assemble.
The Turner Prize-winning architectural collective Assemble has transformed an old bathhouse into a contemporary arts centre that is idiosyncratic and joyful.
Poster art by Martiszu in the Sophienspital Grounds. Photo: Veronica Simpson.
What’s the difference between design and art? This year’s Vienna Design Week went a long way to answering that perennial question. Designers, artists, architects and educators from all over central Europe used this platform to interrogate how and why we live the way we do, and proposed intriguing, absorbing or simply beautiful solutions.
studio international logo
Copyright © 1893–2018 Studio International Foundation.

The title Studio International is the property of the
Studio International Foundation and, together with
the content, are bound by copyright. All rights reserved.
studio international cover 1894
Home About Studio
Archive Yearbooks
Interviews Contributors
Video Cybernetic Serendipity
CyberArt Contact us
twitter facebook RSS feed instagram

Studio International is published by:
the Studio International Foundation, PO Box 1545,
New York, NY 10021-0043, USA