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Paul Kindersley. Oh!, 2018. iPhone photographic print on vinyl. © Paul Kindersley. Courtesy the artist and Belmacz.
Charleston, home of the Bloomsbury set, is celebrating the opening of a new exhibition and arts space with three concurrent exhibitions, Orlando at the Present Time, Zanele Muholi: Faces and Phases and Vanessa Bell and Duncan Grant’s Famous Women Dinner Service
Vanessa Brazeau, portrait. Courtesy of the artist.
Performance artist Vanessa Brazeau devises absurd exercise routines and fitness apps in order to connect the act of movement to the way we think and make decisions.
Helen Duncan emerging from curtains with ‘ectoplasm’ – her hands holding those of others
at the séance, Edinburgh, 1933. Photograph © Senate House Library, University of London.
Spellbound is an exhibition that not only examines the superstitious practices that governed our ancestors, but also exposes those we still cling to today .
Jutta Koether. Untitled, 1987. Oil on canvas board, 7 x 9 1/2 in. Courtesy of the artist and Galerie Buchholz, Berlin/Cologne/New York.
In Munich, the most significant retrospective of the German artist to date, shows her paintings from the last four decades, including rarely seen early works, and an epic new cycle.
Frida Kahlo with Olmec figurine, 1939, photograph by Nickolas Muray. © Nickolas Muray Photo Archives.
This exhibition offers a lesson in why you shouldn’t feed popular morbid curiosity at the expense of respect for the person behind the legend. Nevertheless, Frida Kahlo’s paintings still shine out from amid the costumes, prosthetics and pill packets.
Ryan Gander with Jamie Clark, Phoebe Edwards, Tianna Mehta and Maisie Williams. Liverpool Metropolitan Cathedral. Photo: Pete Carr.
The 10th edition of Britain’s largest contemporary art festival explores oppressive structures, endangered histories and a world in constant flux.
Egon Schiele. Self-Portrait with Chinese Lantern Plant, 1912. © Leopold Museum, Vienna.
The Leopold Museum in Vienna celebrates the work of two of its greatest painters, Gustav Klimt and Egon Schiele, with concurrent exhibitions that underline their enduring relevance.
Tamsyn Challenger. Photograph: Albie Clark.
The artist-curator Tamsyn Challenger talks about Free the Pussy!, the exhibition she has curated to showcase works made in response to Pussy Riot’s arrest in 2012, and the more general need for women to speak out, take control and reclaim their pussies.
Simon English. Photograph: Jenny Lewis.
The London-based artist Simon English talks about chance, addiction and the wilful act of drawing.
Christopher Williams. Best.Nr.: 68011, Best.Nr.: 28856, Best.Nr.: 28856. Brushed aluminium – dishwasher safe sauce pan and stew pot. Studio Rhein Verlag, Düsseldorf. 26 January 2017. Inkjet print, 73.7 x 92.2 cm paper. Courtesy the artist, Galerie Gisela Capitain, Cologne and David Zwirner, New York / London / Hong Kong. © the artist.
In this exhibition, which includes seven photographs and several blank walls, the US photographer investigates systems of meaning and classification.
Ana Mendieta. Sweating Blood, 1973. Super 8 film, colour, silent. Photograph: The Estate of Ana Mendieta Collection, LLC. Courtesy of Galerie Lelong & Co.
Mud, blood, fire and water: a touring exhibition of the Cuban American artist affirms her continuing relevance while revealing her formidable skill as a film-maker.
V&A Dundee, Scotland. View from the River Tay. © HuftonCrow.
Kengo Kuma has delivered a new landmark in the V&A Dundee. It is a craggy sculptural structure inspired by the city’s shipbuilding past and Scotland’s rugged cliffs, which Kuma hopes will reconnect the city with nature. Inside, he has crafted an interior of warmth and welcome. But has he delivered a ‘living room for the city?’.
Banu Cennetoğlu. 1 January 1970 – 21 March 2018 · H O W B E I T · Guilty feet have got no rhythm · Keçiboynuzu · AS IS · MurMur · I measure every grief I meet · Taq u Raq · A piercing Comfort it affords · Stitch · Made in Fall · Yes. But. We had a golden heart. · One day soon I’m gonna tell the moon about the crying game (2018). Installation view, Chisenhale Gallery, 2018. Commissioned and produced by Chisenhale Gallery, London. Courtesy of the artist. Photo: Andy Keate.
Istanbul-based artist Banu Cennetoğlu talks about the List, a documentation of refugees known to have died trying to reach Europe, now on show at the Liverpool Biennial, her recent film at the Chisenhale that spanned more than 128 hours, and the images we create of ourselves and other people.
Martin John Callanan. A Planetary Order (Terrestrial Cloud Globe), 2009. 3D digital print. © Martin John Callanan 2018. Courtesy Parafin, London.
This tightly focused group exhibition explores the human impact on our environment.
Aaditi Joshi.
You may view plastic as rubbish, but for Mumbai artist Aaditi Joshi it is ‘as precious as a gem’. She even covers her body in it to make art. Here, she talks about why she chose it as her medium and describes her process of transforming it.
Frida Escobedo’s Serpentine Pavilion 2018. Photograph: Iwan Baan.
With walls made of stacked concrete roof tiles and a welcoming sequence of interior spaces, Mexico’s Frida Escobedo has created an easily replicable, accessible and enchanting structure for the 18th Serpentine Pavilion commission.
Mary Kuper at her exhibition Language Shift.
The artist and illustrator talks about her current exhibition, Language Shift, the Endangered Poetry Project, her etymological alphabet, and why each language is so important to its culture.
Ellsworth Kelly. Red Orange White Green Blue, 1968. Oil on canvas, 120 x 120 3/8 in (304.8 x 305.7 cm); each panel: 120 x 24 in (304.8 x 61 cm). Norton Simon Museum, Museum Purchase, Fellows Acquisition Fund, P.1968.14a-e. © Ellsworth Kelly Foundation.
This exhibition of Kelly’s work seeks to cut to the core of his practice, primarily through two sets of extraordinary lithographs from the mid-1960s, and traces a compelling link between his figurative and abstract work.
Rajyashri Goody.
Goody, herself of Dalit heritage, talks about discrimination in India against the Dalits and how, in her first solo exhibition, she is using photographs of her family and turning Dalit literature into recipes, to highlight the significant and complex relationship with food among a people historically denied it.
Tamara Henderson at Cass Sculpture Foundation. Photograph: Barney Hindle.
The artist discusses the transmigration of the soul, the transformative properties of clay, and using art as a way of mourning.
Thierry Oussou. Trompe d’éléphant, 2018. Mixed media on paper, 150 x 152 cm (59 1/8 x 59 7/8 in).
The Benin-born artist Thierry Oussou reflects on his artistic practice, the need for repatriation of cultural objects, and art and culture in Africa more generally.
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