United Visual Artists. Topologies, 2022. Installation view, Future Shock, 2022. Photo: © Jack Hems.
An audiovisual exhibition that joins the dots between contemporary art, electronic music and technology, with varied results
O’Malley says she wants her Irish Pavilion installation to be a welcoming space, for visitors to ‘feel the power and the height and weight of things’.
Cornelia Parker, War Room, installation view at Tate Britain. Photo: Tate Photography Oli Cowling.
From the shed blown up by the British army to drone-shot footage of the Commons Chamber to a new work referencing Brexit, from the vast to the intimate, this major survey takes us through 30 years of Parker’s work.
Eduardo Kac: From Minitel to NFT. Exhibition view. Photo: Arturo Sanchez.
Known for naming the domain of ‘bio-art’ and for his creation of a ‘green glowing bunny’, Kac is also a substantial pioneer of digital art. Here, he talks about his current ‘mini retrospective’ in New York.
Assemble and Schools of Tomorrow: The Place We Imagine, installation view at Nottingham Contemporary, 2022. Courtesy Nottingham Contemporary. Photo: Stuart Whipps.
In this fantastically creative play space, children have worked with the Turner-prize winning architectural practice Assemble to bring to life the ideas of the modernist architect Lina Bo Bardi.
Portrait of Amie Siegel. Photo: Jason Schmidt. © Jason Schmidt. Courtesy of the artist and Thomas Dane Gallery.
The American artist discusses her new film work, Bloodlines, a masterful exploration of class, ownership and time glimpsed through the movement of George Stubbs’s paintings.
Lucia Pietroiusti. Photo: Thaddäus Salcher.
The curator, ecological activist and consultant discusses the power of artists to imagine everything from Golden Lion-winning eco-operas, to festivals exploring our relationships with nature.
Rembrandt Harmensz van Rijn, Girl at a Window, 1645. Oil on canvas, 81.8 x 66.2 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.
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