logo studio international

Ibrahim Mahama: Parliament of Ghosts

Through the use of old train seats and other salvaged materials, the Ghanaian artist tells a story of his country, rich with the legacy of colonialism, independence and lost opportunities

Ibrahim Mahama, Parliament of Ghosts. Installation view, Whitworth Art Gallery, Manchester, 2019. Photo: Veronica Simpson.
Félix Vallotton, Self-portrait at the Age of Twenty (Autoportrait à l’âge de vingt ans), 1885. Oil on canvas, 70 x 55.2 cm. Musée cantonal des Beaux-Arts de Lausanne. Acquisition, 1896. Inv. 620. Photo: © Nora Rupp, Musée cantonal des Beaux-Arts de Lausanne.
The Royal Academy’s exhibition of Vallotton’s varied and strange work proves that some artists defy easy definitions.
Takis. Installation view, Tate Modern, 2019. Photo: Martin Kennedy.
This exhibition of work by Takis is mesmerising. His sculptures use magnetic energy to create sound and movement in a manner that is sometimes poetic, sometimes joyful and always haunting.
Ivon Hitchens, Spring in Eden, 1925. Oil on canvas, 49 x 59.5 cm. Swindon Museum and Art Gallery © The Estate of Ivon Hitchens.
This thought-provoking exhibition, the largest on Hitchens since 1989, deftly explores the enigmas of his work in a career that spanned an incredible six decades.
Cindy Sherman. Untitled #92, 1981. Chromogenic print, 61 × 121.9 cm. Collection of Cynthia and Abe Steinberger.
Sherman was fascinated by the ambiguous nature of appearances and she throws out clues to entice viewers into forming their own interpretations of her work.
Andrea Luka Zimmerman.
Luka Zimmerman talks about her interest in people on the margins, her collaborative process, and that fine line between reality and fiction, explored in her latest film, Here for Life.
Nikhil Chopra. Coal on Cotton, 2013. Commissioned by Manchester International Festival and the Whitworth Gallery, Manchester. Costume Design Sabine Pfisterer. Photograph: Sabine Pfisterer. Image courtesy the artist.
Nikhil Chopra, the 2019-2020 artist in residence at New York’s Metropolitan Museum of Art, talks about his live performance there later this year, and about wanting to give the artist as much importance as a scientist, a journalist or a historian.
Nunzio: The Shock of Objectivity, installation view, Mazzoleni, London, 2019. Courtesy Mazzoleni, London-Torino.
The elegantly cryptic, scorched sculptures and lustrous lead reliefs of the Italian artist Nunzio are, for the first time, on view in London at Mazzoleni.
Ibrahim El-Salahi.
Using his art as a form of meditation to alleviate chronic back pain, Sudanese artist Ibrahim El-Salahi turns his medication packets into miniature canvases. He talks here about his intricate drawings and how they are enlarged on to canvases – a mixture of detail and minimalism, suffering past and present, personal and general.
Shirley Tse speaking to Studio International at the opening of Stakeholders, Hong Kong in Venice 2019. Photo: Martin Kennedy.
The artist talks about accommodation and negotiation as expressed in her Venice installation, Stakeholders: a multi-dimensional sculpture using hand turned wood and 3D printed elements.
Remy Jungerman speaking to Studio International at the opening of The Measurement of Presence, Dutch Pavilion, Venice Biennale 2019. Photo: Martin Kennedy.
Jungerman and Kensmil’s installations for the Dutch Pavilion explore issues of race, identity, culture, history and art history. Here, at the opening of the show, Jungerman talks about the sources of his work in Dutch and European modernism, Winti, an Afro-Surinamese religion, and his Maroon ancestry.
Francesc Ruiz. Photo: the artist.
The artist talks about his alternative porn installation, House of Fun, now on at Norway’s Momentum, launching a porn studies institute and having sex with insects.
Rosa Johan Uddoh. Auto Cutie, 2019. Performed in collaboration with the diasporic dance troupe DIDD (Department for International Dance Development).
Rosa Johan Uddoh continues her exploration of popular culture from a black feminist perspective by reimagining the BBC broadcaster Moira Stuart.
Frank Auerbach. Mornington Crescent, Summer Morning II, 2004. Ben Uri Collection. Copyright the artist, courtesy Marlborough Gallery, London.
With works from the 17th century to the present day, this impressive exhibition views the changing nature of London’s rich and varied architecture through the eyes of artists across the years.
Cyril Power, The Tube Station, 1932. © The Estate of Cyril Power. All Rights Reserved, 2019 / Bridgeman Images.
Dulwich Picture Gallery shines a well-deserved spotlight on an almost-forgotten era of future-facing printmaking, which adroitly captured the thrill of modern urban life.
Natalia Goncharova. Two female dancers (half-length). Choreography design for Les Noces, c1923. Ink and paint on paper, 25 x 25 cm. Victoria and Albert Museum, London. © ADAGP, Paris and DACS, London 2019.
This landmark retrospective highlights the breathtaking variety of Goncharova’s output, from religious painting to Russian folk art to designs for French fashion houses and costumes for the Ballets Russes.
Liz Johnson Artur, Brixton, 2010. Courtesy the artist.
The photographer celebrates 28 years living among south London’s black British community with this thoughtful and affectionate portrait.
Ekaterina Degot. Photo: JJ Kucek.
Degot discusses Steirischer Herbst, an annual art festival held in Graz, Austria. Last year, her first as the festival’s curator, it tackled the rise of populism across Europe. This year’s iteration, Grand Hotel Abyss, examines hedonism and whether Graz, in particular, and Europe in general is a pleasure zone on the edge of a void.
Lubaina Himid, Porthmeor Studios.
Lubaina Himid’s first solo exhibition in the US opens this week, debuting works that continue her longstanding project on identity, representation and survival. She talks here about this new work and her pioneering role in the 1980s in the British black arts movement.
Paula Rego in her studio © Nick Willing.
From criticism of dictatorship in her native Portugal in the 60s to the 90s abortion series and Dog Women, Paula Rego’s subjects are as relevant today as ever. As Obedience and Defiance, her first UK retrospective in two decades, opens, she talks about her work and what inspires her.
Michael Craig-Martin. Bulb (red), 2011. Powder-coated steel, 79 1/8 x 131 1/8 x 1 in (201 x 333 x 2.5 cm). © Michael Craig-Martin. Photo: Lucy Dawkins. Courtesy the artist and Gagosian.
For the first time, Craig-Martin’s sculptures are indoors and there is an Alice in Wonderland feel to wandering among everyday objects such as forks and safety pins on a vast scale.
studio international logo
Copyright © 1893–2019 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