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Photo: Adam Scott.
The Colour Palace is a monumental temporary pavilion by artist Yinka Ilori and architects Pricegore, bringing the heat and vibrant hues of Nigerian markets and mosques to the Sir John Soane-designed Dulwich Picture Gallery. But does it do more than simply draw attention and add ornament?
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.
Shu Lea Cheang speaking to Studio International at the opening of 3x3x6, Taiwan for Venice 2019. Photo: Martin Kennedy.
Shu Lea Cheang’s multi-media installation for Venice uses its ancient prison setting well to explore the biographies of historical and contemporary sex offences, and ponder the impacts of today’s omnipresent digital surveillance.
Simone Kenyon, Into The Mountain, performance, 30 May - 2 June 2019, Cairngorms National Park. Photo: Felicity Crawshaw / Scottish Sculpture Workshop.
Immersive art doesn’t usually involve a 5.30am start and a day hiking in the rain, but Into the Mountain opens us up to the potential of contemporary art practices to be truly adventurous and transformative.
Norman Gilbert, Ballad(e), 1970. Oil on board, 76 x 122 cm. © Norman Gilbert.
This show, spanning 50 years of Gilbert’s career, is not only a record of the artist’s output, but a moving and intimate documentary of his own family life painted across half a century.
Giorgio Morandi, Still Life (Natura morta), 1936. Oil on canvas, 33 x 37 cm. Fondazione Magnani Rocca, Mamiano di Traversetolo (Parma), Italy. © Giorgio Morandi, VEGAP, Bilbao, 2019.
The early 20th-century painter known for his devotion to still lifes is held up next to the artists who shaped his vision.
Vincent van Gogh, Path in the Garden of the Asylum, 1889. Oil paint on canvas, 61.4 x 50.4 cm. Collection Kröller-Müller Museum, Otterlo.
In its first Van Gogh exhibition since 1947, the Tate considers how British culture informed the artist’s work, and gives a fascinating insight into the influence the social realists had on him and his influence on young British artists.
Edmund de Waal, the library of exile, 2019. Ateneo Veneto. Part of Psalm, an exhibition in two parts at the Jewish Museum and Ateneo Veneto, Venice. © Edmund de Waal. Courtesy of the artist. Photo: Fulvio Orsenigo.
In a two-part exhibition, the artist has used his trademark porcelain vessels, two buildings of great significance and a library of books to trace a universal story of exile and translation.
William Kennedy, when it's cold i'd like to die, 2019. Video installation, three films, single channel, colour, sound, 9 min 16 sec. © the artist.
What is it to be happy in an age where mental health problems are so prevalent? How can communing with nature, externalising the internal – both metaphorically and literally – help with this? This slickly curated three-person show delves deep, lays bare, and offers a very plausible answer to an unanswerable question.
Keith Tyson. Ikebana - Waterfall Stage (Boss Level), 2018. Oil on aluminium, 247.7 x 171.5 cm (97 1/2 x 67 1/2 in) (framed). © Keith Tyson. Courtesy of the artist and Hauser & Wirth.
The artist talks about the joys of scaling back, relearning the craft of painting, and why the flower paintings in his new show, Life Still, at Hauser & Wirth, London, are about so much more than flowers.
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.
Frank Bowling, 2019. Photo: Mathilde Agius.
This exhibition of Bowling’s work is colourful, joyous and long overdue. Covering the entire span of his artistic career, it reveals for the first time the importance of this overlooked artist.
Lee Krasner. Self-Portrait, c1928. The Jewish Museum, New York. © The Pollock-Krasner Foundation. Courtesy the Jewish Museum, New York.
This joyful exhibition, a testament to Krasner’s astonishing energy, creativity and capacity for reinvention, reaffirms her rightful status as a towering figure in postwar American art  .
Lothar Götz, Dance Diagonal, 2019, work in progress. Photo: Eva Eastman, courtesy Towner Art Gallery.
Artist Lothar Götz talks about designing a monumental mural for Towner Art Gallery, the politics of the Bauhaus and why he rejected figurative art.
Luchita Hurtado, Encounter, 1971 (detail). Oil on canvas, 12 x 243.2 cm. © 2019 Luchita Hurtado. Photo: Hugo Glendinning.
The 98-year old painter’s debut institutional exhibition showcases a lifetime of work that fuses the human with the cosmic, while speaking keenly to the present.
Alter 3 © Hiroshi Ishiguro, Takashi Ikegami and Itsuki Doi. Photo: Tristan Fewings/Getty Images. AI: More than Human, Barbican Centre, 16 May – 26 August 2019.
With AI seeping into all our lives, the Barbican should be congratulated for tackling such a prescient subject, and there are some real gems here. But has it missed a trick in making this a celebration rather than a critique of the technology that has such scope for abuse?.
From Higashimura Akiko (b1975), Princess Jellyfish, 2008-17. © Akiko Higashimura / Kodansha Ltd.
The British Museum turns its attention to Japan’s distinctive medium of graphic storytelling, and reveals a diverse, culturally intriguing picture.
Workers!, Petra Bauer & SCOT-PEP, film still, 2018. Photo: Caroline Bridges.
Inspired by feminist film practitioners who emphasise the importance of making films with their subjects, not about them, Workers! is very much a collaboration between film-maker Petra Bauer and SCOT-PEP, a sex worker-led organisation in Edinburgh.
Students' Educational and Cultural Movement of Ladakh (SECMOL) with Sonam Dorje and Simant Verma, Ice Stupa. 2013-14. Photo: Lobzang Dadul. Courtesy SECMOL.
Under the stewardship of MoMA’s Paola Antonelli, the revitalised exhibition turns its eyes to our impending doom – and what design can do to make amends.
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