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Setouchi Triennale 2016

Once every three years, the islands of Japan’s Seto Inland Sea are transformed by an influx of artists bringing new ideas through a variety of works and installations

Edward & Nancy Reddin Kienholz. The Bear Chair, 1991. Installation view, Fondazione Prada, Milano. Photograph: Delfino Sisto Legnani Studio. Courtesy Fondazione Prada.
Even with its harrowing subject matter, Edward Kienholz’s controversial civil rights work deserves to be celebrated. This exhibition examines it in its original context of display, alongside other, often disturbing, works from 1959-1994.
Paula Modersohn-Becker. Autoportrait au sixième anniversaire de mariage (Self-portrait on the sixth wedding anniversary), 25 mai 1906, Tempera on cardboard, 101.8 x 70.2 cm. Museen Böttcherstrasse, Paula Modersohn-Becker Museum, Brême. © Paula-Modersohn-Becker-Stiftung, Brême.
Following the artist’s progress from a small German artists’ community to the bright lights of Paris, this exhibition captures Modersohn-Becker’s constant striving to simplify and distil the essence of her subject.
Dana Schutz. Assembling an Octopus, 2013. Oil on canvas, 120 x 156 in (304.8 x 396.2 cm).
The artist talks about deciding to become a painter when she was 14, how Alice Neel and the Velvet Underground made her want to move to New York, why she isn’t on Facebook or Instagram, and why it’s bad to read blogs.
Atelier le Balto. Passage, 2016. Installation view. Mixed media. Courtesy Atelier le Balto. Photograph: Timo Ohler.
Mixing physical locations with digital content, The Present in Drag is a brilliant parody that builds a clever, self-deprecating critique of the present, presenting the visitor less with an experience than with a lifestyle.
Alice Channer. R o c k f a l l, 2015. Cast aluminium; cast COR-TEN steel; cast concrete, H55 x W305 x D1730 cm. Installed at City Hall Park, New York, US. Work courtesy: Aïshti Foundation, Beirut, LB. Image courtesy: Public Art Fund, NY.
The artist, who used everything from cigarette ash to microbeads to create her work, talks about cyborgs, beehives, and the problem with solid sculpture.
Maurizio Cattelan. Ostrich, 1997. Taxidermied ostrich, 124.5 x 145 x 53 cm.  Private collection, Moscow.  Installation view of Co–thinkers, Garage Museum of Contemporary Art, Moscow, 2016 Courtesy Garage Museum of Contemporary Art.
The focus of this exhibition, with work by canonical American and European artists, is less on the art itself and more on being inclusive for all those who visit to enjoy it. As one of the curators says: “Disability does not mean having a different cultural experience”.
Winifred Knights. Self-portrait sketching at a table, c1916. Watercolour over pencil on paper, 38.5 x 24 cm. Private collection. © The Estate of Winifred Knights.
Knights was a prodigious talent, yet she has been virtually ignored for the past half a century. Now, a retrospective of her paintings at the Dulwich Picture Gallery could change that. Director Ian Dejardin tells Emily Spicer why Knights is an artist worth remembering.
Lamia Joreige.
The artist, one of seven finalists included in the Artes Mundi 7 exhibition, talks about her project Objects of War, a collective history of the Lebanese civil war, and her newer “poetic essays” exploring neighbourhoods in Beirut through film, photography, drawing and installation.
View across the River Thames to Tate Modern Boiler House and Switch House, with adjacent Rogers Stirk Harbour + Partners-designed apartments, Neo Bankside.
After more than a decade and over £250m in funds, Tate Modern’s new sibling has opened its doors, displaying an exhilarating approach to accessibility, flexibility and curatorial innovation.
Marcus Coates. Dawn Chorus, 2007. Multi-screen film installation, gallery view, Wellcome Collection, London, 2016.
This intriguing exhibition attempts to capture the elusive nature of the human voice, with live performances by sound artists, demonstrations, paintings and medical illustrations. Curator Bárbara Rodríguez Muñoz tells Studio International about the show.
Neo Naturists, Andrew Logan's Alternative Miss World at Olympia, 1981. Courtesy of the Neo Naturists Archive.
Disaffected by the politics of Thatcherism and an art world overtaken by masculine neo-expressionism, the Neo Naturists covered their nude bodies in paint and burst on to the 1980s’ London club scene in an attempt to explore body image and identity.
Daniel Sinsel. Untitled, 2016. Oil on linen, 132 x 107.5 x 9.5 cm (52 x 42 ¼ x 3 ⅝ in). Copyright the artist, courtesy Sadie Coles HQ, London.
A pulse of eroticism runs through this collection of Sinsel’s new work, as he teases the distinction between painting and sculpture, using materials ranging from the ordinary to the rarefied.
Alphabet of Art. 4th St. Petersburg International Biennial Spatia Nova. Arts Square, St. Petersburg, 4 October 1996. Participants: Vladimir Kozin, Igor Panin, Sergei Spirikhin, Vadim Fliagin. Installation view at MMoMA © Mikhail Grigoriev.
This retrospective looks at the work of a group of performance artists from St Petersburg in the late 1990s, who used irony, the grotesque and absurdism to reflect the transitional and uncertain world around them.
Georgia O’Keeffe. Black Cross with Stars and Blue, 1929. Oil paint on canvas, 101.6 x 76.2 cm. Private collection. © 2016 Georgia O'Keeffe Museum/ DACS, London.
Tainted by the myth of erotic undertones, O’Keeffe’s work is shown by this long overdue retrospective to be far broader and more brilliant than is widely known. But it still doesn’t entirely do her justice.
Marina Abramović. Art must be beautiful/Artist must be beautiful, 1975. Black and white video with sound,
13 min 51 sec. © Marina Abramović; Courtesy Lisson Gallery.
Celebrating moving image from the 1960s to the present day, this exhibition explores experimentation, performance and documentation in film-making.
Cui Xiuwen at the Arthur M Sackler Museum of Art and Archaeology at Peking University in Beijing, 27 May 2016. Photograph: Martin Kennedy.
Cui Xiuwen is a conceptual artist best known internationally as a video film-maker and photographer. A creator of progressive and provocative work, she began her career as a painter and has recently returned to making paintings and sculpture, exploring contemporary formulations for venerable traditions, in combination with new media.
Poster advertising the Venice Architecture Biennale 2016. Courtesy of la Biennale di Venezia.
From the poster image for this six-month-long event to the immersive installations of exquisitely resculpted waste at the entrances to the main buildings, this biennale is all about the architect’s role in solving issues caused by dwindling resources.
Niki de Saint Phalle. Je suis une Vache Suisse, 1991. Oil, pencil and mirror on wood, 92 x 96.9 x 20.4 cm.
Despite traumatic experiences early on in life, Niki de Saint Phalle produced vivacious, playful and exuberant works, proof that creativity can emerge from destruction.
Jean-Antoine Watteau. The Line of March, c1710. Oil on canvas, 15 3/8 x 19 5/6 in. York Museums Trust (York Art Gallery), York.
Offering the quiet thrill of a cool oasis in the park, the Frick Collection has mounted a connoisseur show of little-known work by a master of his time that both instructs and refreshes.
Diane Arbus. Jack Dracula at a bar, New London, Conn. 1961. © The Estate of Diane Arbus, LLC. All Rights Reserved.
Burnished by a brilliant installation, this early work shows the storied American photographer already fully in control of the technique and vision that were to so greatly influence generations of artists to come.
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