This spectacular show plays out in a deep black gallery space, where through nine large video installations, Malani explores oppression, reinterpreting and re-presenting details from artworks she has selected from the National Gallery and Holburne Museum collections.
Pillay’s paintings have a washy tranquillity beneath which violence lurks, as she explores the legacies of colonialism and the contradictory nature of historical memory.
Having recently moved to the UK from Nigeria, Péju Alatise talks about growing up in Lagos, her campaigning art and its shifting style, and plans for her new Glasgow studio.
McDonagh discusses how a residency at Cork Printmakers in Ireland, as part of a project supporting artists who are refugees or displaced people, allowed her to document her Traveller community and reject the stereotypes created by outsiders.
From house party to lockdown: for his retrospective at Wiels, the London-based artist presents three different visions of interior space.
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A spectacular survey of the British artist is brutally bleak and awe-inspiringly complex. It might also be the most fun you’ll have at an exhibition all year .
Drawing on family lore, Blandy’s four provocative films take us from the horrors of the atomic bombing of Hiroshima to current fears about the survival of our planet, but ultimately provide a glimmer of hope for a less apocalyptic future.
Now on show at Turner Contemporary, Sonia Boyce’s immersive multimedia installation, which won the Golden Lion for best national participation at the 59th Venice Biennale, celebrates black female musicians and invites visitors on a journey of self-discovery, with the ultimate goal being freedom.
The artist discusses the enduring power of painting, the evolution of his watercolour technique, the influence of his childhood landscape on palette and subject, and the importance of persistence.
For its sixth iteration, themed ‘বন্যা/Bonna’, or flood, the biennial exhibition explored how climate informs culture within a country that is situated on the world’s largest river delta.
Two exhibitions now on at the museum relate to text-based works by female poets of the second half of the 20th century. The result is, in part, spellbinding.
In her intimate portraits, with an unflinching eye, Neel lays bare the souls of her sitters. Her work is raw, honest and simply marvellous.
The artist, 20 of whose works are now on show at the Fitzwilliam Museum, talks about the power struggles in her work and how being one step removed enables creatives to produce an empathetic, imaginative and impactful response to global atrocities.
A survey of the Cuban artist is not easy to assemble, especially in the US, but this exhibition presents most of his mature oeuvre with newly discovered drawings and sculptures. Works by other artists from across the Americas complete this riveting show.
Tsang trains a postcolonial lens on Herman Melville’s 19th-century novel Moby-Dick for her immersive video installation Of Whales and beguiling silent film MOBY DICK; or, The Whale. She talks about the works, staged by TBA21, now on show at Museo Nacional Thyssen-Bornemisza in Madrid.
This show presents us with a tapestry of Donatello’s life and legacy, the intricacies of his craftsmanship and the intimacy of his figures, and his influence on those who came after him.
With three-quarters of Vermeer’s surviving paintings, this luminous exhibition is the largest gathering of works by the artist ever – and ever likely. The Rijksmuseum has an intimate contemplative hit on its hands.
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This show gives visitors the chance to follow the Scottish artist from her early work at the St Ives School to her exploration of Switzerland’s Grindelwald Glacier in 1949, which proved a turning point that led her to a more abstract visual language.
The Brazilian artist, choreographer and dancer has been exploring the relationship between body, movement, visual and audiovisual art and media art since the 1970s. She talks to us about her work, now on show at the Centre for Art and Media Karlsruhe, including M3X3 from 1973, one of the first dance choreographies conceived for video by means of computer notation.
This thrilling exhibition brings us work, much of it never seen before in the UK, from a largely forgotten generation of female artists working in gestural abstraction.
In Kilfa’s new video work, which is integrated into an architectural structure, the viewer finds themselves like an Alice in Wonderland figure, unsure of what is big and what is small, what is real and what is imagined.
The Swedish artist’s subject matter includes invasive weeds, intestinal flora and obese chicks that live in dark caves. She tells us about her works now on show at Gasworks London and the Eden Project.
This colourful lyrical abstraction sweeps the viewer up in its kaleidoscopic eddies and perpetual vicissitude.
