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Scottish artist Lorna Macintyre delves into the relationships between people, their objects and their traces, in this fascinatingly forensic yet poetic exhibition at DCA
Otto Mueller. Self Portrait with Pentagram, around 1924. Distemper on hessian, 120 x 75.5 cm. Von der Heydt-Museum Wuppertal. © Von der Heydt-Museum Wuppertal. Photo: Antje Zeis-Loi, Medienzentrum Wuppertal.
Exploring the life, work and artistic times of the German expressionist artist Otto Mueller, this exhibition revives the lively cultural exchange of the early 20th-century between Berlin and Wrocław.
Betty Yu. Photo courtesy of the artist.
New York-based artist Betty Yu talks about the gentrification of her neighbourhood in Brooklyn and what galleries can do to help.
Egon Schiele. Group of Three Girls, 1911. Pencil, watercolour and gouache with white gouache heightening on packing paper, 44.7 x 30.8 cm. The Albertina Museum, Vienna. Exhibition organised by the Royal Academy of Arts, London and the Albertina Museum, Vienna.
Commemorating the centenary of the deaths of two of Austria’s great modernist artists, this exhibition showcases 100 drawings on loan from the Albertina Museum and proves them to be far more than just erotic sketches.
Maja Hoffman and Jorge Pardo, hotel L’Arlatan, Arles. Photo: Pierre Collet.
Pardo and his team have transformed a tired French hotel in Arles into a work of art, designing and making a million handmade tiles, almost every piece of furniture and hundreds of his signature light fittings.
Nick Wadley, Talking to Strangers, 2006. From Nick Wadley in Gdansk, CCA Laznia, Gdansk, Poland.
A tribute to the British artist and art historian whose droll vignettes and punning wordplay open up life’s absurdities.
Margaret Salmon: Hole. Installation view, Dundee Contemporary Arts, 8 December 2018 – 24 February 2019. Photo: Ruth Clark.
This is a portrayal of love and intimacy, but love and pain are inevitably intertwined, and Hole is a stirring and heartbreaking work.
Christine Ay Tjoe. © Christine Ay Tjoe. Photo © Oku Yuji.
For her first solo exhibition in London, the Indonesian artist presents a group of intricately layered paintings and drawings that call on the contrasting environments of her home city of Bandung.
Dale Chihuly. Mille Fiori, 2018  (detail), installation view, Groninger Museum. Photo: Veronica Simpson.
Chihuly’s sheer brilliance and inventiveness in working with glass shine through in the magical creations on show here.
Nam June Paik. Fin de Siècle II, 1989 (partially restored, 2018). Seven-channel video installation, 207 televisions, sound, 168 × 480 × 60 in. (426.7 × 1219.2 × 152.4 cm). Installation view, Programmed: Rules, Codes, and Choreographies in Art, 1965-2018, Whitney Museum of American Art, New York, September 28, 2018-April 14, 2019). Whitney Museum of American Art, New York; gift of Laila and Thurston Twigg-Smith 93.139. © Nam June Paik Estate. Photograph: Ron Amstutz.
From Nam June Paik’s 1960s experiments to alter images on a TV screen to Ian Cheng’s use of chatbots and Jonah Brucker-Cohen and Katherine Moriwaki’s comments on celebrity-making through software that tracks Twitter feeds for reality TV shows, this exhibition spans 50 years of programmed works.
Martin Creed watching his video, Hauser & Wirth, London, 2018. Photo: Veronica Simpson.
Creed spoke to us at the opening of his new show, Toast, which includes a dancing sock, a painting that moves in and out of the room and a troupe of singers, along with new drawings, videos, paintings, textiles and a rotating piece of toast.
Yapci Ramos. Red-Hot, 2015-18. 18 channel video HD Installation with sound, 12 min 05’’ sec. Video still.
Eight key works from the past 15 years, all unapologetically seen from a woman’s perspective, circle around the fluidity of sexuality, identity and the diversity of human behaviour.
Jules Cheret. La Loie Fuller, 1893. Printer: Chaix (Ateilier Cheret), Paris. Lithograph in red, yellow, dark violet, and black ink on paper, 124 x 84 cm. Collection: The Hunterian, University of Glasgow.
In these prints of Paris, Toulouse-Lautrec and his contemporaries bear witness to the enduring appeal of illusion, suggestion and nostalgia.
Shen Fan: Works in Abstraction 1992-2017, installation view, Eli Klein, New York, 2018. Photo courtesy of Shen Fan, ShanghART Gallery and Eli Klein Gallery.
This exhibition presents a survey of works by the Shanghai-based artist whose aim is to open up a dialogue across cultures and chronologies.
Susan Swartz. Spring Muse 8, 2016. Acrylic on linen, 48 x 72 in. Courtesy of Susan Swartz Studios.
Nature, says Swartz, is her primary source of inspiration and her paintings are grounded in the increasingly complex relationship we have with it.
Carer (Backbone of Society) by Roseline Ma. Photo: Juliet Rix.
With its packed walls, vibrant colour and impressive work, the Royal Academy’s first show by artists from its community partner programmes is like a miniature Summer Exhibition.
Gabriele Münter, around 1935. © Gabriele Münter und Johannes Eichner-Stiftung, Munich. Photographer unknown.
Best-known for her colourful, expressionist landscapes and her graphic portraits, as well as for her relationship with Wassily Kandinsky, Münter deserves to be remembered in her own right, as this expansive exhibition makes clear.
Janet Biggs, Space Between Fragility Curves, 2018 (detail). Two-channel, HD video installation with sound. Courtesy of the artist, Cristin Tierney Gallery, New York, NY, Analix Forever, Geneva, Switzerland, and CONNERSMITH, Washington, DC.
In her three new films, Biggs mixes footage of the Mars Desert Research Station in Utah with scenes from refugee camps and adds in terrific soundtracks. The result is utterly compelling.
Gustavo Pérez Monzón. Portrait of the artist. Photo: Gabriel Batiz. © The Artist; Courtesy Richard Saltoun Gallery, London.
The Cuban artist discusses his return to production, a fascination with the systems of arcane sciences and why teaching and practice are born of the same spirit of enquiry.
Helmut Kolle. Young Man with a Coloured Scarf, c1930. © Kunstsammlungen Chemnitz - Museum Gunzenhauser, Stiftung Gunzehauser.
In 1938, a year after the notorious Nazi exhibition of “degenerate art” in Munich, a counter exhibition in London showed works by 65 of the defamed artists. Eighty years on, this retrospective looks back at that exhibition, its organisers, the artworks and the artists themselves, and the stories of the lenders.
Fernand Léger. ABC, 1927. Gouache on paper, 19.4 x 27.8 cm. Tate: Presented by Gustav and Elly Kahnweiler 1974, accessioned 1994. © ADAGP, Paris and DACS, London 2018.
Léger is regarded as the father of pop art and, despite his harrowing experiences during the first world war, the works here reflect a sense of optimism.
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