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Bartolomé Bermejo: Master of the Spanish Renaissance

A display of paintings by Spanish Renaissance painter Bartolomé Bermejo forms a picture of religious upheaval and artistic excellence

Bartolomé Bermejo. Desplà Pietà, 1490 (detail). Barcelona Cathedral. © Catedral de Barcelona (Photo: Guillem F-H).
Bertille Bak. Faire le mur, 2008. Video 4:3 stereo, 17 mins, set photography. Production Le Fresnoy – Studio national des arts contemporains. Courtesy Bretelle Bak / Le Fresnoy
At the Merz Foundation in Turin, on the occasion of its third art prize, Bertille Bak reflects on a Romany community living on the periphery in Paris.
Heike-Karin Föll, my brain, 2010–19. Installation view (detail), Speed. KW Institute for Contemporary Art, Berlin, 2019. Photo: Frank Sperling.
In her first institutional solo show, the German artist plays on the fast fickleness of commodification, trend and fashion.
Ima-Abasi Okon, Infinite Slippage: nonRepugnant Insolvencies T!-a!-r!-r!-y!-i!-n!-g! as Hand Claps of M’s Hard’Loved’Flesh [I’M irreducibly-undone because] —Quantum Leanage-Complex-Dub, 2019. Installation view, Chisenhale Gallery, 2019. Commissioned and produced by Chisenhale Gallery, London. Courtesy of the artist. Photo: Andy Keate.
Old air-conditioning units, poor-quality ceiling tiles coated with ultrasound gel and gold – the utilitarian and the precious come together in Okon’s fascinating installations.
Leo Warner, director of 59 Productions.
Warner, design director of multimedia visual artists and impresarios 59 Productions talks about collaborative creativity, working across global as well as technical boundaries, sources of inspiration and how technology should always be subservient to the story.
Patrick Staff: The Prince of Homburg, installation view, Dundee Contemporary Arts, 2019. Photo: Ruth Clark.
Through video installation, sculpture and printmaking, Staff uses a play from 1810 as a vehicle to explore queerness and sexual identity in today’s world.
Gustav Metzger practicing for a public demonstration of Auto-destructive art, possibly by John Cox, for Ida Kar, 1960. © National Portrait Gallery, London.
This show of Metzger’s work, as part of the King’s Lynn Norfolk festival, looks at his years living in the town in the 1950s, a time that shaped his move to social engagement and activism in his output.
Attributed to Francesco Melzi, A portrait of Leonardo, c1515-18. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2019.
The Queen’s Gallery showcases the Royal Collection’s superb archive of Leonardo da Vinci drawings in an exhibition that reflects the mischief and the magic behind the greatest mind of the Renaissance.
John Akomfrah, Precarity, 2017. Ballasts of Memory installation view, BALTIC Centre for Contemporary Art, 2019. Photo: Rob Harris © 2019 BALTIC Courtesy of the artist, Smoking Dogs Films and Lisson Gallery.
Akomfrah’s skill as a film-maker and visual storyteller shines through in this compelling show.
New Orleans Museum of Arts Sydney and Walda Besthoff Sculpture Garden, installation view. Photo: Richard Sexton.
Devastated by Hurricane Katrina in 2005, the sculpture garden now has a spacious new extension and almost 30 additional works, including commissions from Teresita Fernández, Maya Lin and Elyn Zimmerman.
Francesc Ruiz. Photo: the artist.
The artist talks about his alternative porn installation, House of Fun, now on at Norway’s Momentum, launching a porn studies institute and having sex with insects.
Leila Heller on opening night of her new gallery space at 17 East 76th Street.
Gallerist Leila Heller talks about showing Andy Warhol and Jean-Michel Basquiat in the 1980s, after meeting them in New York clubs, promoting artists from the Middle East, her current show curated by Warhol’s muse – and why she has just moved her gallery back to where it all began.
Serpentine Pavilion 2019, designed by Junya Ishigami, Serpentine Gallery, London © Junya Ishigami + Associates, Photo © 2019 Iwan Baan.
Perhaps this is an idea that looked good on paper, but with its dark slate roof and unstable-looking structure, Junya Ishigami’s pavilion is oppressive and unwelcoming.
Andermatt Concert Hall. Photo © Roland Halbe.
The Andermatt Concert Hall is a world-class auditorium, the first in the Swiss Alps, designed by architect Christina Seilern to help transform this former army town into a new destination for culture, as well as sport and tourism.
Alberto Giacometti in his studio, 1960. Photo: Rene Burri/Magnum Photos.
This remarkable show traces Giacometti’s artistic career, displaying his works alongside those of some of his contemporaries and making clear his belief that drawing was the basis of everything.
Maryam Najd at the opening of Botanic: National Amalgamation Project, Arthur M Sackler Museum of Art and Archaeology at Peking University, 2019. Photo: Arthur M. Sackler Museum.
Iranian artist Maryam Najd talks about her exhibition at the Arthur M Sackler Museum of Art and Archaeology in Beijing and why she chose to embark on a project researching the national flowers of the world.
Calder Stories, installation view, Centro Botín. Photo: Belén de Benito.
A major Alexander Calder exhibition at Centro Botín in Santander reveals about 80 of the great American artist’s unrealised projects. Hans Ulrich Obrist, curator of the show, discusses these little-known collaborative works, which highlight Calder’s interest in the world around him.
Koen Vanmechelen. Photo: Florian Voggeneder.
In a joint venture with the Belgian city of Genk, the artist Koen Vanmechelen has built a €22m ecological park that presents art as an instigator of community development.
Persia Reframed: Iranian Visions of Modern and Contemporary Art by Fereshteh Daftari, published by IB Taurus.
This is a valuable guide to the history of the reception of modern and contemporary Iranian art in the west, offering a broad outlook on cultural interactions between Iran and major American cultural institutions in the past three decades.
Ibrahim Mahama, Parliament of Ghosts. Installation view, Whitworth Art Gallery, Manchester, 2019. Photo: Veronica Simpson.
Through the use of old train seats and other salvaged materials, the Ghanaian artist tells a story of his country, rich with the legacy of colonialism, independence and lost opportunities.
Portrait of Alvaro Barrington. Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. © Alvaro Barrington, Photo: Ben Westoby London 2019.
The New York-based painter talks about the artists he steals from, integrating his lived experience into art – and being the first artist asked to design a float for the Notting Hill Carnival.
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