logo studio international

Programmed: Rules, Codes and Choreographies in Art, 1965-2018

From Nam June Paik’s 1960s experiments to alter images on a TV screen to Ian Cheng’s use of chat...

<

London 1938: Defending ‘Degenerate’ Art

In 1938, a year after the notorious Nazi exhibition of “degenerate art” in Munich, a counter exh...

Zoe Leonard: Aerials

Leonard’s stripped-back black-and-white aerial photographs take us back to a simpler time...

Martin Creed: ‘You’re at the mercy of these feelings you don’t have ...

Creed spoke to us at the opening of his new show, Toast, which includes a dancing sock, a painting t...

Fernand Léger – New Times, New Pleasures

Léger is regarded as the father of pop art and, despite his harrowing experiences during the first ...

Mariko Mori: Oneness

The Moongate Garden at the Sackler Gallery provided a magical backdrop for Mariko Mori’s performan...

<

Rafael Lozano-Hemmer: Pulse

In this fascinating show, large-scale immersive installations track visitors’ heartbeats and trans...

Emma Hart: Banger

In a playful, rebellious show that explores the sinister and surreal of the everyday, the London-bas...

Gordon Matta-Clark: Works 1970-1978

Using films, photo collages and reconstructions, this show brings back to life the pioneering work o...

Robyn Denny: Paintings from the 1960s

Roche Court’s presentation of Robyn Denny’s mysterious and enigmatic 60s abstract paintings runs...

The Quick & the Dead

This exhibition brings together the works of a formidable group of artists whose friendship has insp...

<

Christo: ‘Art is useless’

Famed for wrapping massive structures and sculptures built from oil drums, Christo, who collaborated...

Renoir Father and Son: Painting and Cinema

An exhibition exploring the shared motifs, subjects and settings of paintings and films by Pierre-Au...

The sky’s the limit: OMA and Bjarke Ingels reinvent Stockholm’s reside...

With two new luxury blocks of flats, OMA and Bjarke Ingels Group have added their architectural sign...

Gainsborough’s Family Album

The National Portrait Gallery introduces us to Thomas Gainsborough’s colourful family in a beautif...

Bruce Nauman: Disappearing Acts

This retrospective helps us understand Nauman as an artist who turns attention to himself, his body ...

<

Funda Gül Özcan: ‘I was like a sponge to soak up their tears’

Özcan talks about her recent installation at a bar in Graz, extraterrestrials, the Kosovo war, artw...

Magical Unicorns

Throughout history, unicorns have borne the power of intrigue and attraction, and this brief chronol...

Michelangelo Pistoletto: Origins and Consequences

A well-defined exhibition at Mazzoleni, London, trains its eye on Michelangelo Pistoletto’s incipi...

Lotte Laserstein: Face to Face

Lotte Laserstein was a rising star of Weimar Berlin, forced to leave her country and abandon her art...

I am Ashurbanipal: King of the World, King of Assyria

I am Ashurbanipal tells the story of an educated Assyrian king with a brutal streak...

<

Paula Becker and Otto Modersohn: Art and Life

A tender testament to the relationship of two artists, whose lives and work are inextricably linked,...

Warhol: From A to B and Back Again

The Whitney’s pantheon exhibition, of close to 300 works, sidelines Andy, the pop artist marketed ...

Julie Greve: ‘I don’t like shooting models. They are taught so quickly...

The recent art-school graduate, who was selected to photograph this season's campaign for standout B...

Pepe López: ‘When it comes to exile, we keep all memories in the same p...

The Venezuelan artist recounts packing a life into a suitcase, the potency of objects in evoking the...

Andreas Lolis: ‘I’m not working with marble, I’m conversing with it...

Lolis talks about why he uses marble to sculpt bin bags, wooden crates and other mundane items, in r...

<

The Bunker Artspace – Art as autobiography

Given a test run last autumn and reopening on 2 December, The Bunker, a private venue fronting the c...

Edward Burne-Jones

Burne-Jones may not appeal to the contemporary art world, but Tate Britain’s survey proves there...

Otobong Nkanga, interview, Artes Mundi 8

Otobong Nkanga talks about her inspirations for the works on show at Artes Mundi 8, and her enduring...

Santiago Sierra: Black Flag

This immersive installation documents Sierra’s provocative planting of black flags – symbol of t...



studio international logo
Copyright © 1893–2018 Studio International Foundation.

The title Studio International is the property of the
Studio International Foundation and, together with
the content, are bound by copyright. All rights reserved.
studio international cover 1894
Home About Studio
Archive Yearbooks
Interviews Contributors
Video Cybernetic Serendipity
CyberArt Contact us
twitter facebook RSS feed instagram

Studio International is published by:
the Studio International Foundation, PO Box 1545,
New York, NY 10021-0043, USA