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From his collection, Damien Hirst has produced a tribute to the passionate and visionary work of two Scottish artists he admired
Devon Shimoyama, Miles, 2019. Oil, acrylic, colour pencil. jewellery, Flashe, glitter, collage, sequins and fabric on canvas
stretched over panel, 60 x 48 in (152.4 x 121.9 cm). Image courtesy De Buck Gallery, New York.
His portraits consider the black, queer, male body from a personal perspective that is as informed by mythology and folklore as it is by everyday life. Shimoyama talks here about his new solo exhibition, Shh … at De Buck Gallery in New York.
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.
Online Dating Profile Picture, Hey Saturday, London, England, 2016. Image courtesy Saskia Nelson, Hey Saturday.
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.
Illustration of the internal organs and acupuncture points in Shishi bessho zui. Hozumi Koremasa, 1820s. © Royal College of Physicians.
The Royal College of Physicians’ exhibition of anatomical illustrations, from medieval times to the present day, reveals the intersecting histories of medicine, art and politics, explains Under the Skin’s curator, Katie Birkwood.
Studio International spoke to Miriam de Búrca, Joy Gerrard, Mary Griffiths and Barbara Walker ahead of the opening of the exhibition Protest and Remembrance at Alan Cristea Gallery, London, 2019. Photos: Martin Kennedy.
Drawings by four contemporary female artists explore notions of protest and remembrance, from anti-Brexit marches to unconsecrated Irish burial sites, and forgotten black soldiers to former collieries in the north of England.
Mary Griffiths talking to Studio International at the opening of Protest and Remembrance, Alan Cristea Gallery, London. Photo: Martin Kennedy.
In Protest and Remembrance at Alan Cristea, with her large abstract works of plywood, acrylic gesso and graphite, Griffiths aims to capture the splendour of the working-class engineering at a former colliery.
Kip Gresham.
This exhibition shows 40 years of work made by master printmaker Kip Gresham in collaboration with some of the best-known artists from Britain and beyond.
Magdalene Odundo: The Journey of Things. Installation view, The Hepworth Wakefield, 16 February – 2 June 2019. Photograph © Nick Singleton.
The Kenyan-born artist’s lustrous ceramics become the anchor for a voyage through three millennia of objects and artworks.
Rembrandt van Rijnb, Self-portrait with Tousled Hair, c1628–29. De Bruijn-van der Leeuw Bequest, Muri, Switzerland.
For the 350th anniversary of Rembrandt’s death, the Rijksmuseum is staging a once-in-a-generation exhibition – 22 paintings, 60 drawings and 300 prints. It is extraordinary, revealing, inspiring – and a little overwhelming.
Julianne Swartz. Joy, still, 2018. 21:38 mins, 16 channels, electronics, composed soundtracks. Commissioned by Grace Farms Foundation, New Canaan. Courtesy of Julianne Swartz Studio, Stone Ridge and Josée Bienvenu Gallery, New York City. Photo: Eva Deitch.
Swartz talks about Joy, Still, her site-specific sound installation at Grace Farms, and how the multi-use centre in Connecticut, designed by the Japanese-based firm Sanaa, became her instrument.
Erwin Wurm, Untitled (P29), 2018 (detail). Polaroid, 80 x 56 cm. Courtesy Galerie Thaddaeus Ropac, London, Paris, Salzburg. ©  Erwin Wurm/DACS, 2019.
The Austrian sculptor, famed for sheathing social commentary in comic forms, talks about absurdity, handicraft, the mass media and the future.
Netherlands ⇄ Bauhaus: Pioneers of a New World, exhibition view, Museum Boijmans van Beuningen, Rotterdam, 2019.
This show celebrates the centenary of the founding of the Bauhaus, guiding you through the fascinating history of a movement that still has enduring relevance.
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