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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?’
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.
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.
E.V. Day 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.
In a riveting, large-scale work called Moss Ball: A Meditation on the Overview Effect (2018), E.V. Day makes some unlikely, and therefore all the more intriguing, connections.
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