TATE MODERN
Louise Bourgeois's 'spider' is more than 20 feet high, is called 'Maman', and hovers protectively over what appear to be white eggs. Close by, the massive work entitled "I Do, I Undo, I Redo", consists of three steel towers. These towers convey the essence of the three activities with remorseless logic. Most of us spend large parts of our lives in one or other such mode. As Bourgeois says, "The Redo means that a solution is found to the problem. It may not be the final answer, but there is an attempt to go forward...". Louise Bourgeois was born in France, but her career developed mostly in New York. The commission could be seen as a typical arrangement of curatorial diplomacy -American, yet European: but the installations by Bourgeois, whatever the reasons of choice, do seem to fulfil the promise of this enlightened decision. In future years, it may be a hard act to follow, given these massive spaces, and the manner in which the ageing genius has filled them, and with what child-like wonderment. Which reminds one of some other, British options. In the future, how will Kapoor fill it, or Gormley, or perhaps most interestingly now, Philip King: save us from Caro, or Moore. Such installations are also plagued by exposure, or over-exposure. That cannot be said of Bourgeois. She has christened the space, and magnificently for today.
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Marc Camille Chaimowicz: Nuit Américaine
From house party to lockdown: for his retrospective at Wiels, the London-based artist Marc Camille C...
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Mike Nelson: Extinction Beckons
A spectacular survey of the British artist Mike Nelson is brutally bleak and awe-inspiringly complex...
Drawing on family lore, David Blandy’s four provocative films take us from the horrors of the atom...
Now on show at Turner Contemporary, Sonia Boyce’s immersive multimedia installation, which won the...
Shanti Panchal – interview: ‘It’s a meditative process, a layering o...
Shanti Panchal discusses the enduring power of painting, the evolution of his watercolour technique,...
For its sixth iteration, themed ‘বন্যা/Bonna’, or flood, the biennial exhibition explo...
Ilse Garnier: a e i o u and Concrete Experience
Two exhibitions now on at the museum relate to text-based works by female poets of the second half o...
Alice Neel: Hot Off the Griddle
In her intimate portraits, with an unflinching eye, Alice Neel lays bare the souls of her sitters. H...
Marcelle Hanselaar – interview: ‘To do nothing, to not at least take t...
Marcelle Hanselaar, 20 of whose works are now on show at the Fitzwilliam Museum, talks about the pow...
Juan Francisco Elso: Por América
A survey of Cuban artist Juan Francisco Elso is not easy to assemble, especially in the US, but this...
Wu Tsang – interview: ‘I’m drawn to stories that have messy politics...
Wu Tsang trains a postcolonial lens on Herman Melville’s 19th-century novel Moby-Dick for her imme...
Donatello: Sculpting the Renaissance
This show presents us with a tapestry of Donatello’s life and legacy, the intricacies of his craft...
With three-quarters of Vermeer’s surviving paintings, this luminous exhibition is the largest gath...
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Wilhelmina Barns-Graham: Paths to Abstraction
This show gives visitors the chance to follow Scottish artist Wilhelmina Barns-Graham from her early...
Analivia Cordeiro – interview: ‘For me, movement is an escape of the t...
Brazilian artist, choreographer and dancer Analivia Cordeiro has been exploring the relationship bet...
Action, Gesture, Paint: Women Artists and Global Abstraction, 1940-70
This thrilling exhibition brings us work, much of it never seen before in the UK, from a largely for...
In Atiéna R Kilfa’s new video work, which is integrated into an architectural structure, the view...
Ingela Ihrman – interview: ‘I need to find my own reasons to do things...
Swedish artist Ingela Ihrman’s subject matter includes invasive weeds, intestinal flora and obese ...
Xiyao Wang: A Carnival in the Forest
This colourful lyrical abstraction sweeps the viewer up in its kaleidoscopic eddies and perpetual vi...
Rodney Graham: Getting It Together in the Country
A concise show of the late Canadian artist Rodney Graham showcases his ability to find humour and po...
Curated by Gerard Mossé and spanning the years from 1900 to now, this is a full-throated paean to p...
Andrew Black – interview: ‘The film-making process for me is a researc...
Andrew Black discusses his film documenting the social and economic history of the Washburn Valley i...
Scott Covert – interview: ‘For me, each brushstroke is a lifetime’
In a long overdue first European exhibition, at Studio Voltaire, London, American artist Scott Cover...
This small show celebrating the eastern European textile art tradition focuses on Jagoda Buić and B...
Trickster Figures: Sculpture and the Body
A clever curation of contemporary sculpture alluding to bodies or systems that relate to bodies, thi...
Brian Vincent and Heather Spore – interview: ‘Edward Brezinski really...
On the occasion of their first feature documentary, the film-makers Brian Vincent and Heather Spore ...
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In this clever and inventive exhibition, part of the Zabludowicz Collection’s Invites series, McCa...
Leslie Jones – interview: ‘I wanted to recontextualise the material, n...
Leslie Jones, the curator behind the Los Angeles Museum of Art’s much-anticipated exhibition of ea...
Rebecca Fortnum – interview: ‘I’m trying to bring these women back t...
As Rebecca Fortnum was at the Henry Moore Institute, installing her exhibition of paintings and draw...
Jon Rafman: Minor Daemon and Ebrah k’dabri
Buckle up and join Jon Rafman, the Canadian post-internet artist, on a trip to his digital inferno. ...
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Cy Twombly: Cycles and Seasons
American Sublime: Landscape Painting in the United States 1820-1880
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