A concise survey of the genre-hopping Brazilian artist shows him breaking new ground, even as his life took an unexpected turn.
Partners in life and work, they supplied fabrics to Heal’s and Liberty, as well as for the film Ben-Hur and the interior of the Royal Festival Hall, yet Hilary Bourne and Barbara Allen are largely forgotten. This show makes clear their importance.
Many of the pioneers in environmental art were women, but their works were often ephemeral, destroyed once a show was over. Here, the curators have painstakingly recreated some of those works, putting their artists firmly back in the spotlight.
Motivated by a profoundly humanistic spirit, Lisetta Carmi photographed marginalised communities. One year after her death, the Estorick Collection’s exhibition introduces the UK audience to her images of great strength and tender fragility.
Ireland’s biennial is this year based on the concept of gleaning, when unused crops are divided among these in need, and across the city of Limerick artistic offerings abound with positivity and collectivism.
The Ukrainian artist who goes by the name of Ave Libertatemaveamor talks about life in her country since the Russian invasion, the mural she worked on with George Gittoes for the rebuilt House of Culture in Irpin, and why drawing is so important to her.
The photographer, known for her portraits of west-coast queer culture in the 1990s, today turns her camera to making portraits of architecture and cities, including the Vatican.
An exhibition of recent works by the veteran British painter draws on medieval stained glass, Velázquez, nature and the process of painting.
Donachie, whose first UK solo institutional exhibition is now at Pallant House Gallery, reflects on her cast of reimagined muses, the influence of poetry and cinema on her imagery and the ongoing conversation between her paintings.
In an institution like no other, the Japanese-Swiss artist’s works are juxtaposed with her stuffed animal collection to create a lively menagerie.
Rakowitz has recreated the Hanging Gardens of Babylon in the form of a sculptural relief and a living garden of plants and herbs, collaborating with local people with experience of displacement.
In her studio in Dalston, east London, Pam Evelyn talks about the push and pull of making one of her large-scale abstract paintings and learning to live with its contradictions and tensions.
A corporate and trademarked invention, Barbie Pink is still marketed as the colour of perpetual happiness. Tracing the multiple iterations of pink through art history, however, reveals more complex meanings.
Glasgow’s Burrell Collection has been named 2023 museum of the year, picking up the £120,000 award that goes with it. The Keeper of the collection talks about what it means to win the world’s largest museum prize and his plans for the future.
With themes including Scottish identities, artistic communities and interior lives, this exhibition focuses on women across generations who have changed the face of the country’s art.
The calm and welcoming spaces at this Scottish gallery provide the perfect setting for Winstanley’s vibrant and joyous paintings and Mace’s painted wooden sculptures.
A retrospective celebrates the German sculptor whose wide-ranging work sharply critiques the modern world.
Ghotmeh’s sociable pavilion, inspired by trees and sitting down to break bread together, invites us to congregate. But while it is sympathetic to its parkland setting, a reduced hospitality offer hampers the feasting and gathering.
Despite its relaxed, fun atmosphere, this year’s festival tackles serious issues. It is about hope, humanity and learning to live together better.
This master class in Dutch art history demonstrates the strength of the artistic impulses that came from France, while highlighting how important landscape remained for Dutch artists.
In a space that appears a cross between a cinema and a place of worship, a warped soundscape, a raucous video and doggy dioramas immerse us in Chin’s fictional and unsettling world.
Perry mocks and self-flagellates his Englishness and class, his childhood memories and coping mechanisms, and reveals the endless awkwardness and angst of being at odds with one’s home and subject matter, with no obvious escape.
Gabriel Chaile’s first institutional solo show in the UK sees him covering an old chapel in adobe mud and inviting his friend, Laura Ojeda-Bar, to contribute her own characterful paintings, creating a multisensory environment of intimacy and welcome.