More than 400 events and installations from high-profile designers and rising stars were included in this year’s London Design Festival, while the city’s inaugural design biennale showcased the works of 37 countries at Somerset House
Kotwall, a senior member of the K11 Art Foundation, talks about the ethos and goals of the organisation, which seeks to promote young Chinese artists, open up cross-cultural dialogues, and make art more accessible to the Chinese public.
The French artist has converted a grain barge into an artwork to sail the Thames, blasting out a soundtrack of revolution and hosting conferences with leading thinkers on philosophy, economics and nanotechnology. He welcomed Studio International on board.
The artist talks about being any angry young artist, his earlier determination not to be viewed as an American Indian artist, and the practice he has evolved over the years, which combines traditional Native American art with contemporary styles.
Keen to learn traditional, craft-based skills, the artist explains why she is drawn to processes where she has a direct hand in production, staying in contact with the things she is making and the people she is working with.
In her studio in southern Ireland, the German-born artist spoke about her recent exhibition and residency at David Parr House in Cambridge, Buddhism and the childhood experiences in Finland and Syria that continue to influence her practice.
With Snøhetta’s new building now open, SFMOMA has more exhibition space than Manhattan’s MoMA, and more dedicated walls for photography than the Getty, and with its vast collection, it is an essential destination for any art lover.
Combining elements of Christian iconography and ritual with artefacts from North African and oriental culture, Buthe created entrancing and immersive installations, at once meditative and full of energy.
He fought in the Spanish civil war, was exiled from France by the Nazis and returned to his native Cuba to find it utterly changed. His genius was to turn his experiences into a unique portrait of his time and his place.
The record, begun in the 1970s, of a 15-year period in Goldin’s life, is grounded in a specific place and culture, yet it is a hauntingly universal and deeply affecting work and, decades on, it has lost none of its immediacy.
Entering the gallery, visitors enter a new world – a liminal space, with an empty lift, piss-stained walls, and a municipal blue hotel sign on a cracked concrete wall. The artist explains his interest in civic architecture as social sculpture and a site of social exchange.
To mark the 300th anniversary of the birth of the great 18th-century landscape gardener, this exhibition brings together portraits of Capability Brown and his clients, along with original plans, drawings and documents.