Gerrit Dou, A Woman Playing a Clavichord, c1665 (detail). Oil on oak panel, 37.7 x 29.9 cm. Dulwich Picture Gallery, London.
From a 3,000-year-old Phoenician ivory relief of a temple prostitute to Rembrandt’s Girl at a Window to Wolfgang Tillmans’ photographic portrait of female techno DJ Smokin’ Jo, this ambitious exhibition emphasises the relationship between the act of looking and being looked at
Karen Kilimnik, car rally Avengers £50,000 breakfast, vrrooomm!, 1979. Ink and watercolour on paper, 28 × 35.5 cm (11 × 14 in). © Karen Kilimnik. Courtesy the artist, Sprüth Magers and Galerie Eva Presenhuber.
Sprüth Magers takes us on a whistle-stop tour through the American artist’s early drawings, pulling us into a unique imaginative world.
Hélio Oiticica. PN 28 Penetrable, Nas Quebradas, 1979. Wood, brick, metal, nylon mesh, metal mesh, roof tile, plastic and jute, 357 x 450 x 310 cm (140 1/2 x 177 1/8 x 122 in). © Estate of Hélio Oiticica, Courtesy Lisson Gallery.
As the first survey of Oiticica in London in 15 years goes on show at the Lisson Gallery, its curator, Ann Gallagher, talks about the Brazilian artist’s vibrant, sensual works.
Giant ears, a massive inflatable heart and a disembodied head – De Andrade explains why he has filled the Brazilian Pavilion with an odd assortment of body parts.
Goran Trbuljak. Photo: Lucija Šutej.
The conceptual artist and film-maker explains why seeing Neil Armstrong walk on the moon had such a strong influence on him, why he is so reluctant to define his work as painting – and why he once spent his Sundays painting over a shop window, then returning to watch the shopkeeper scraping it off.
Stalin’s Architect: Power and Survival in Moscow by Deyan Sudjic, published by Thames and Hudson. © Thames & Hudson.
This fascinating book is as much about the history of Stalinist Russia as it is about Boris Iofan, the architect whose grand buildings defined the era, yet whose work was so closely tied to the dictator’s whims.
The facade of ZACentrale which features an installation by Alfredo Jaar. Photo: Jolanda Carollo, Courtesy Fondazione Merz.
Led by Fondazione Merz, a new arts centre in Palermo hopes to engage local people with contemporary art, while retaining strong links to the capital’s history.
Ettore Spalletti, Untitled, 1998. Cardboard cover with washed silk, tissue paper, 6 11/16 x 4 11/16 x 1 1/4 in (17 x 12 x 3.3 cm). Edition of 1000. Copyright Ettore Spalletti Archive. Courtesy Studio Ettore Spalletti and Marian Goodman Gallery. Photo: Matteo Ciavattella.
A treasure trove of an exhibition surveys the late Italian master’s exploration of books and paper, which provide a gentle complement to his painting and sculpture.
Raphael, The Virgin and Child with the Infant Saint John the Baptist (The Alba Madonna), about 1509–11. Oil on wood transferred to canvas, 94.5 cm diameter. National Gallery of Art, Washington, DC, Andrew W. Mellon Collection (1937.1.24). Courtesy National Gallery of Art, Washington.
This thrilling show lays out the full spectrum of the Renaissance artist’s output, from his architectural prowess to his almost sculptural portraits.
In the darkness of the Icelandic Pavilion, Sigurður Guðjónsson talks about his monumental video work – a visceral experience, its scale and form resonant with its architectural setting and enhanced by a primal soundtrack.
Pedro Cabrita Reis. Photo: João Ferrand.
In the run up to his exhibition in Venice during the 59th Biennale, the internationally renowned Portuguese artist talks about the museum he keeps in his mind, and why he will never be pinned down to a particular form of art.
Celia Paul. Self-Portrait, April, 2021. Oil on canvas, 63.7 x 56.5 cm. © Celia Paul. Courtesy the artist and Victoria Miro.
This is a poignant and deeply personal show, and sadness permeates the works, done during lockdown and in the final months of her husband’s life.
Installation view of Henry Moore: The Sixties with Working Model with Oval with Points, 1968-69 (LH 595); Large Spindle Piece, 1968 (LH 593 plaster); Large Standing Figure Knife Edge, 1961 (LH 482a). Photo: Rob Harris.
Sculptures and drawings, set in the very place they were created, along with Moore’s own vast collection of press cuttings, brings us close to an artist, who though in his 60s, had lost none of his power.
Langlands & Bell in the garden at Charleston below Vanesa Bell’s attic studio window.
Visitors to Charleston will be treated to three intriguing shows from Langlands & Bell, including their own works exploring the idea of utopia, an intervention in Vanessa Bell’s attic studio, and a collection the duo have curated of works from other artists.
Portrait of Mahesh Baliga, 2022. Photo: Manish Mehta. © Mahesh Baliga, courtesy the artist, Project 88, and David Zwirner.
As his first solo show outside India takes place at David Zwirner in London, Baliga explains why pain and suffering, both his and that of others, are at the root of all his paintings.
Akseli Gallen-Kallela, Clouds over the Lake, 1904. Oil on canvas. Musée Gallen-Kallela, Espoo, Collection Kauranen. Photo : The Gallen-Kallela Museum / Jukka Paavola.
Can art create a country? Two concurrent exhibitions in Paris showcase the artists who forged Finland’s identity against Russian dominance.
Sheila Hicks: Off Grid. Installation view, The Hepworth Wakefield, 
7 April – 25 September 2022. Photo: Tom Bird / Courtesy The Hepworth Wakefield.
From her small woven minimes to installations that stretch from floor to ceiling, Hicks’s colourful, tactile works, spanning a 70-year career, are a delight to behold.
Ilona Sagar, The Body Blow, two-channel film. Installation view, Radio Ballads, Serpentine North Gallery, London, 2022. Photo: Veronica Simpson.
Sonia Boyce, Helen Cammock, Rory Pilgrim and Ilona Sagar spent three years working with creative community organisations and providers and users of social care users in the London borough of Barking and Dagenham to come up with four brave and powerful films.
Leeroy New with junk space helmet with his installation The Arks of Gimokudan at Somerset House, London, 2022. Photo: Juliet Rix.
Filipino multimedia artist Leeroy New has just “docked” three “ships” made of bamboo and waste plastic in the courtyard of Somerset House in London. Commissioned to mark Earth Day 2022, they take inspiration from sci-fi, mythology, marine life and his climate-change-threatened home nation.
Robert Indiana, LOVE (Red Blue Green), 1966–1998, installation view at Yorkshire Sculpture Park, 2022. Photo: © Jonty Wilde, courtesy of Yorkshire Sculpture Park. Artwork: © 2022 Morgan Art Foundation Ltd./ Artists Rights Society (ARS), New York/DACS, London.
This major show, spanning six decades of Indiana’s career, makes clear that there was far more to his work than the four-letter sculpture for which he is primarily remembered.
Anastasia Samoylova, Park Avenue, 2018, from the series FloodZone. © Anastasia Samoylova.
Among a high-impact shortlist for this year’s prize, Anastasia Samoylova’s photographs of an apocalypse on slow boil come out on top.
Hulda Guzmán. Portrait of artist in studio, 2021.
The Dominican artist Hulda Guzmán talks about the things that inspire her, her father’s influence – and not taking life too seriously.
Rachel Jones, say cheeeeese, 2022. Installation view, Chisenhale Gallery, 2022. Commissioned and produced by Chisenhale Gallery, London. Courtesy of the artist. Photo: Andy Keate.
The artist doesn’t want people to make quick judgments on what her works are saying, and the colourful exuberant canvases in this show certainly give plenty to think about.
Rana Begum. Outdoor Glass Commission. Laminated toughened glass, steel and aluminium framework, 2018. 
Photo: Andy Stagg.
Begum’s second UK solo show reveals a shift into more organic forms and expands her explorations of light, material and colour.
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