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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
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.
Birgitta Hosea, 2017. Photo: Caroline Kerslake.
‘I was always drawing with my mother, and making things with my mother,’ says the artist.
Loie Hollowell. Courtesy Pace Gallery.
Loie Hollowell talks about her latest exhibition at Pace Gallery, London, her first solo show in the UK, and how trying for a baby has influenced her work.
Lily Lanfermeijer, Lost in depiction 2018. Installation view, Fotopub, Novo Mesto. Photo: Eva Hoonhout.
The Dutch sculptor Lily Lanfermeijer discusses tableware, colonial histories and the passing of patterns between continents.
Blue Sky Concept, The Last of Us™ © 2013, 2014 Sony Interactive Entertainment LLC. The Last of Us is a trademark of Sony Interactive Entertainment LLC. Created and developed by Naughty Dog LLC.
As the V&A this week opens an exhibition that celebrates groundbreaking innovations in video game design, its curator, Marie Foulston, discusses the medium’s radical development over the past 20 years, and why now is the right time for a show of this kind.
Dora Kallmus. Elsie Altmann-Loos, 1922. Gelatin silver print. Photo: Photoarchiv Setzer-Tschiedel/ IMAGNO/ picturedesk.com
The Leopold’s breathtaking retrospective of pioneering Viennese photographer Dora Kallmus’s work provides a glorious, if melancholic, perspective on the turbulent times in which she lived.
Agostino Bonalumi. Blue abitabile (opera ambiente) [Inhabitable Blue (environmental artwork], 1967. Shaped canvas and vinyl tempera, 300 x 340 cm. Private collection. © ALTO//PIANO – Agostino Osio photography.
The first retrospective of Bonalumi’s sculptural exploration of canvas, colour and material since his death is nothing if not comprehensive, consolidating his place within Italy’s postwar avant garde and the influence he has exerted on subsequent artists and architects.
Albert Birkle. The Acrobat Schulz V, 1921. Oil paint on canvas, 92 x 60.7 cm. The George Economou Collection. © DACS, London 2018.
Tate Modern’s exhibition on magic realism brings together the works of troubled minds from turbulent times.
Alison Wilding. Floodlight, 2001. Cast acrylic. Courtesy of
the artist and Karsten Schubert Gallery, London.
With Wilding’s show Right Here and Out There and Peake’s RITE on concurrently at the De La Warr Pavilion in Bexhill, the artists talk about their practice.
Gustav Klimt. Reclining Nude with Drapery, Back View, 1917–1918. Graphite, 14 5/8 x 22 3/8 in (37.1 x 56.8 cm). The Metropolitan Museum of Art, Bequest of Scofield Thayer, 1982.
Stirring and challenging, this frontal look at ecstasy revels in desire as it pits the age-old tradition of nude models against our #MeToo moment.
Patricia Guzman talking to Studio International at the opening of Intersection: International Art and Culture, Arthur M Sackler Museum of Art and Archaeology at Peking University, Beijing, 27 May 2018. Photograph: Martin Kennedy.
Patricia Guzman’s expertly executed realism makes her paintings appear photographic, as she documents faces that attract her sympathy, often closeup.
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