Zhukova dashes into videoz

Her Dark Materials

Hormazd Narielwalla – interview: ‘True, he’s physically not here, but Bowie, the god, is still with us’

The Armory Show 2021

Jakob Kudsk Steensen – interview: ‘There’s so much that we forget in the virtual’

Christopher Houghton Budd – interview: ‘What’s needed here is a high street all the way from the town hall to the lighthouse, without interruption, for pedestrians’

Lynn Hershman Leeson – Twisted; Ed Atkins – Get Life/Love’s Work

Pope.L: Notations, Holes and Humour

genuinefake – interview: ‘I use my creative practice to try to start conversations and dialogue about access, our aspirations … and agency’

Peter St John – interview: ‘You can see how this building has developed. And that’s really special’

Adam Farah: What I’ve Learned from You and Myself (Peak Momentations/Inside My Velvet Rope Mix)

Yoan Capote – interview: ‘When a Cuban looks at the sea, he remembers the isolation and pain of thousands of families’

Eduardo Chillida

Visions of Heaven: Dante and the Art of Divine Light by Martin Kemp – book review

Matthew Krishanu – interview: ‘I want my paintings to exist somewhere between the precision of a photograph and something looser’

Graham Little – interview: ‘Smallness feels natural to me’

The Normal

Disciples of Dóra Maurer

Tal R by Martin Herbert – book review

Matthew Wong: Footsteps in the Wind, Ink Drawings 2013-2017

Sophie Taeuber-Arp

Tino Sehgal

Hilda Kortei: Waitless Beyond Blue

The Lost Leonardo – film review

Peter Freeth: 40 Years of Aquatints

British Ceramics Biennial 2021

Rebecca Salter – interview: ‘I believe that art thrives in a crisis and this can be a cause for hope’

James Barnor: Accra/London – A Retrospective

Alastair Gordon – interview: ‘For me, painting and faith are very much intertwined, like the warp and weft of a tapestry’

Joan Eardley: Centenary

Folkestone Triennial 2021: The Plot

Becoming Gustav Metzger: Uncovering the Early Years, 1945-1959

Kenji Hirasawa – interview: ‘I approach the sitter like a guardian angel, watching over them from far away’

Mick Peter – interview: ‘The project was pleasingly indulgent, a free pass to propose almost anything’

The impact of the Covid-19 pandemic on artists: ‘It was necessary for artists to feel that they are still in a network’

Tess Jaray: Thinking on Paper by Tess Jaray – book review

Nneka Uzoigwe – interview: ‘I find plein air painting extraordinary because there’s so much information to capture and there are so many elements’

Leiko Ikemura – interview: ‘I think we have this inner life, and this inner life has a kind of physiognomy’

Jennifer Wen Ma: ‘With the pandemic and the turbulent political situation, the work had to be more reflective, it had to bind up wounds’

The Renaissance Cities: Art in Florence, Rome and Venice by Norbert Wolf – book review

Thomas Joshua Cooper: The World’s Edge

Pavilion Tokyo 2021

Untitled: Art On the Conditions of Our Time

Karla Black – interview: ‘I don’t see culture and nature as separate things. There’s just a huge pretend around them’

Tokyo: Art and Photography

National Gallery Outdoor Exhibition

Hans Op de Beeck – interview: ‘It’s about suspension of disbelief and how far you can take a spectator into something undeniably fake’

Doron Langberg – interview: ‘There's this rush of empathy and emotion’

With Pleasure: Pattern and Decoration in American Art 1972–1985

Angela Heisch – interview: ‘I think of these works as theatrical – they’re emotive and dramatic as well as gestural’

Gustave Moreau: The Fables