Leonor Antunes: ‘I’m interested in ancient ways of doing things’

The sculptor talks about learning traditional crafts, the Smithsons’ Solar Pavilion, creating an e...

Jene Highstein: Space and Place

Deborah Najar’s carefully considered and sensitive choice of Highstein’s works is accompanied by...

Joana Vasconcelos: I’m Your Mirror

Joana Vasconcelos has filled the Guggenheim Bilbao with work from the past 20 years. She talks about...

John Powers: ‘Abstraction isn’t a technology or technique, it’s more...

Responding to the history of the city of Bruges, John Powers’ 15-metre-tall steel tower was constr...

Lee Bul

The Korean artist’s London retrospective shines brightest when it is clear and direct...

Katharina Grosse: Prototypes of imagination

Across 11 portrait canvases and one enormous fabric hanging, Grosse’s complex, multilayered works ...

James Edgar and Sam Walker: ‘We think of Assembly Point as part of our c...

James Edgar and Sam Walker talk about Assembly Point, their co-founded gallery, studio space and pub...

Junya Ishigami: Freeing Architecture

In his attempts to untether architecture from well-worn conventions, the Japanese architect liberate...

Joana Vasconcelos: Gateway

Vasconcelos’s solo show offers a riot of colour and texture in this highly personal, curated sculp...

Jane Irish: ‘There is a critical strain about the anti-war movement that...

For the first time in its 200-year history, a mansion in Philadelphia is transformed into a major pu...

Joan Jonas: ‘I often went to magic shows as a child, and the idea of mag...

Joan Jonas talks about her multidisciplinary installation works currently on show at Tate Modern and...

José Parlá: ‘It challenges me to work against the grain of the status ...

For his most ambitious project to date, commissioned by the Landmarks public art programme at the Un...

Lilah Fowler: nth nature

The exhibition nth nature, a new body of work by Lilah Fowler, explores feelings of transience and d...

Jedd Novatt: ‘I feel the same tension about the next work as I did 40 ye...

In advance of an exhibition of new works, Novatt talks about his long career making geometric sculpt...

Langlands & Bell – video interview: ‘We like to be catapulted into the...

For a new show at Birmingham’s Ikon gallery, Langlands & Bell have turned their shared gaze on to ...

Lydia Ourahmane – interview: ‘Working with this personal history is so...

Lydia Ourahmane talks about her exhibition at the Chisenhale Gallery, allegiance, betrayal, drawing ...

Jason Brooks: ‘In a world that wants to eradicate detail by airbrushing ...

Ahead of his exhibition at Marlborough, London, Jason Brooks showed Studio International around his ...

Lumiere London 2018

Featuring works by 50 artists and digital / lighting studios and producers, this feast of light and ...

John Piper

A lopsided retrospective reveals an artist who thrived best when he was commissioned or working in c...

Latif Al Ani: ‘I was documenting for the sake of archiving. I never thou...

The Iraqi photographer considers his photographic preservation of a long-vanished Iraq, his preoccup...

Köken Ergun: ‘In Turkey, the image of the soldier has been victimised b...

The Turkish film-maker talks about his 2005 video I, Soldier, and its relevance to the political sit...

John Stezaker: ‘I was trying to create a sort of photographic cubism’

The British artist discusses a series of 1970s collages that launched his career, and which have bee...

Jeanne Mammen: The Observer. Retrospective (1910-75)

Mammen wanted to be “a pair of eyes, walking through the world unseen, only to be able to see othe...

Louisa Fairclough: A Song Cycle for the Ruins of a Psychiatric Unit

At the Danielle Arnaud gallery in London, Louisa Fairclough’s exhibition A Song Cycle for the Ruin...