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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
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.
Julie Cunningham, portrait. Photo: Rick Guest.
Seeking to erase embedded patriarchal structures and fixed gender identities through dance, Julie Cunningham’s choreography is often inspired by feminist texts. Their new work for Art Night 2019 promises to be full of energy – all night long!.
Installation view, Wohl Central Hall, Royal Academy Summer Exhibition 2019. Photo: © David Parry/ Royal Academy of Arts.
The spectacle that is the Royal Academy Summer Exhibition and the stylishness of its visitors has, it seems, never waned and, from the outset, the press has contributed to its reputation. Its visitors are just as important as the artworks they come to see.
Antoni Tàpies, Duat, 1994. 250 x 600 cm. © Antoni Tàpies. Courtesy Waddington Custot.
This exhibition is a tribute to six 20th-century artists who drew inspiration from the street art and graffiti they found in their cities, in a celebration of mark making both ancient and modern.
Gerhard Richter. Seascape (Seestück), 1998. Oil on canvas, 290 x 290 cm. Guggenheim Bilbao Museo. © Gerhard Richter, VEGAP, Bilbao, 2019.
An exhibition of Richter’s seascapes goes on display at Guggenheim Museum Bilbao, proving that, even for the modern painter, he holds an irresistible fascination.
Thomas Kilpper: The Politics of Heritage vs the Heritage of Politics. Installation view, Edinburgh Printmakers, Edinburgh, 27 April – 13 July 2019. Photo: James Boyer Smith.
Edinburgh Printmakers celebrates its new home with an exhibition by Thomas Kilpper, in which the German artist-activist takes on historical and political themes around colonialism and Brexit.
Raffi Kalenderian. Robert, Bob, and Seymour, 2019. Oil on canvas, 84 x 120 x 1.5 in (213.36 x 304.8 x 3.81 cm). Courtesy of the artist and Vielmetter Los Angeles. Photo: Robert Wedemeyer.
For Kalenderian, painting is all about excitement. His radical portraiture – as much of the scene as of the sitter – is a celebration of experimentation and problem-solving. Here, he speaks about what attracts him to his subjects and how he goes about capturing them.
Andrew Marr talking to Studio International in his London studio, 2019. Photo: Nick Howard.
The broadcaster, writer and former BBC political editor talks about how his painting and drawing practice has changed since his stroke six years ago, having two exhibitions this month – and how Brexit crept into some of his work.
Leonor Antunes speaking to Studio International at the opening of a seam, a surface, a hinge or a knot,  Portugal in Venice 2019. Photo: Martin Kennedy.
Leonor Antunes combines her sculpture and craft to open up conversations within architectural spaces. Here she discusses the 20th-century figures, both known and lesser known, who inspired her Portugal installation for the Venice Biennale.
Renate Bertlmann talking to Studio International at the opening of Discordo Ergo Sum, Pavilion of Austria, Giardini, Venice, 2019. Photo: Martin Kennedy.
Renate Bertlmann’s work is rooted in 1970s feminism, yet her message is entirely contemporary. She talks to us about celebrating sensuality and honesty of emotional expression –anger as well as tenderness, fear and lust.
Eva Rothschild talking to Studio International at the opening of The Shrinking Universe, 
Irish Pavilion, Arsenale, Venice Biennale 2019. Photo: Martin Kennedy.
Eva Rothschild’s installation in Venice’s Arsenale summons the spirit of infrastructure, rubble and monuments of disposable (yet not disposable) material. She hopes it will encourage a more direct interaction and encounter with the work.
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