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Oliver Beer uses sound, film and sculpture to explore the physical properties and emotional value of objects and places. We interview the artist as two new solo exhibitions open in the UK
Cauleen Smith. In the Wake, 2017. Satin, poly-satin, quilted pleather, upholstery, wool felt, wool velvet, indigo-dyed silk-rayon velvet, indigo-dyed silk satin, embroidery floss, metallic thread, acrylic fabric paint, acrylic hair beads, acrylic barrettes, satin cord, polyester fringe, poly-silk tassels, plastic-coated paper, and sequins. Collection of the artist. Photograph: Miguel Benavides.
America loves firsts, and, following a hiatus of three years, the once-unruly Whitney Biennial, now closely curating what’s hottest in American art in its sleek, shiny, grown-up, new space, fits the bill.
Sebastiano del Piombo, incorporating designs by Michelangelo. The Raising of Lazarus, 1517-19. Oil on synthetic panel, transferred from wood, 381 x 289.6 cm. © The National Gallery, London.
This fascinating exhibition tells the story of two Renaissance greats and their unlikely collaboration.
Rik Wouters. Portrait of Rik (without a hat), 1911. Oil on canvas, 30 × 32 cm. Private collection. © Photograph: Vincent Everarts Photographie, Brussels.
More than 200 works mark the largest monographic exhibition to date devoted to the Belgian modernist. In a feast of colour and strong brush strokes, a collaboration of more than 30 museums, private collectors and cultural institutions, invite the attentive observer to become immersed in an independent world between fauvism and avant garde.
I Ata Doğruel, Endless Field, Zilberman Gallery Project Space, 19-20 February 2017. Courtesy of Performistanbul.
Pushing his physical and mental boundaries to the limit, Doğruel seeks to make performances from his life and to use the medium of performance art as a tool to enhance his spirituality and find a broader sense of life.
Hiroshi Sugimoto. Suruga Bay, Atami, Seascape, 1997. Gelatin silver print.
The museum reopens its doors after a renovation by artist Hiroshi Sugimoto that combines modern technology with ancient techniques, allowing visitors to see historical artworks in a setting similar to that in which they would originally have been viewed.
Edward Krasiński, Krzysztofory Gallery, Krakow, 1965, exhibition view. Photograph: Eustachy Kossakowski. © Hanna Ptaszkowska and archive of Museum of Modern Art Warsaw, courtesy Paulina Krasinska and Foksal Gallery Foundation, Warsaw.
As mercurial as this master of the Polish avant-garde might seem, a career-wide survey revealed some persistent concerns while retaining much of the mystery.
Top left: Jeffrey Deitch – recreation of Florine Stettheimer Collapsed Time Salon show. Top right: Sadaharu Horio's Art Vending Machine. Bottom: Cerith Wyn Evans. ... later on they are in a garden..., 2007. Photographs. Jill Spalding.
Manhattan’s storied art fair pushed back against a softening art market with strong work, mid-range sales and more than 65,000 visitors – the jury is out, though, on what was added by a new director’s ambitious overhaul.
Mahmoud Bakhshi in his studio. © Pooyan Jalilvand, courtesy of the artist and Pooyan Jalilvand.
Turning the gallery at narrative projects, London, into a 1970s cinema, Bakhshi places his audience at the centre of two pivotal – and parallel – events in recent Iranian history.
Alexei Jawlensky. Self-Portrait with Top Hat, 1904. Oil on canvas. Private collection. © 2016 Artists Rights Society (ARS), New York for Alexei Jawlensky.
Jawlensky’s art may be considered a life-long meditation on the process of change in his personal life.
Boris Mikailovich Kustodiev. Bolshevik, 1920. Oil on canvas, 101 x 140.5 cm. State Tretyakov Gallery. Photograph: © State Tretyakov Gallery.
The fascinating and expansive exhibition provides an intriguing and rare insight into the dialogue between art and politics, the individual and the state, freedom of expression and the pull of ideology.
Prabhavathi Meppayil. d fifty five, 2016. Thinnam on gesso panel, a set of five works, 30 x 30 x 3 cm, 29 x 29 x 3 cm, 29 x 39 x 3 cm, 29 x 29 x 3 cm and 30.5 x 38.5 cm x 3cm.
The Indian artist, brought up in a family of goldsmiths, adapts age-old techniques to make work that seems to bear witness and testimony to this family history and its artistic tradition.
Tony Oursler. Imponderable. 2015-16. 5-D multimedia installation (colour, sound), 90 min. The Museum of Modern Art, New York. © 2016 Tony Oursler. Photograph: Jonathan Muzikar. Digital image © The Museum of Modern Art, New York.
This fascinating exhibition brings together some of the artist’s vast archive of ephemera concerning mysticism, the paranormal and the pseudo-scientific with an immersive film featuring Oursler’s family, Houdini and Arthur Conan Doyle, as viewers are forced to consider the authenticity of what they are seeing.
Tuneu. Hexacordo, gallery view, Galeria Raquel Arnaud, São Paulo, Brazil, 2017. Photograph: Riã Duprat.
This solo exhibition, which celebrates Tuneu’s 50 years as an artist, brings together his most recent work, with 23 new paintings as well as sculptures, all of which play with the possibilities of the hexagon.
Serge Attukwei Clottey at 1-54 Contemporary African Art Fair, courtesy of the artist and Gallery 1957. Photograph: Luke Walker.
Using his body as an object, Ghanaian artist Serge Attukwei Clottey works with international media – as well as plastic yellow “gallons” (jerrycans) – to speak out about politics, religion, sex and tradition.
Anna Freeman Bentley. Photograph: Sara Ekholm.
Freeman Bentley’s paintings are visual and psychosocial mazes that tease layers of meaning from architectural spaces. She talks about her inspiration and the social tensions that lurk beneath the surface.
Robert Devereux at the opening of When the Heavens Meet the Earth at the Heong Gallery, Downing College, Cambridge, 24 February 2017. Photograph: Martin Kennedy.
Showcasing works from Robert Devereux’s Sina Jina African art collection, this small but dense exhibition reveals the breadth and quality of artistic output from the world’s second largest continent.
Chto Delat. It Hasn't Happened To Us Yet. Safe Haven, 2016. Two-channel HD video installation, 16:9, colour, sound, 49:06 min. Courtesy of Chto Delat and KOW, Berlin.
Dmitry Vilensky and Olga Egorova of the Russian collective Chto Delat talk about their latest exhibition, On the Possibility of Light, at KOW in Berlin, and how they hope to foster debate through their engagement with political struggles.
Thomas Hart Benton. Cotton Pickers, 1945. Oil on canvas, 81.3 x 121.9 cm. Prior bequest of Alexander Stewart; Centennial Major Acquisitions Income and Wesley M. Dixon Jr. funds; Roger and J. Peter McCormick Endowments; prior acquisition of the George F. Harding. © Benton Testamentary Trusts/UMB Bank Trustee/VAGA, NY/DACS, London 2016.
This is a fabulously varied exhibition with a sting in the tail. The times, they were a changin', but so much remains the same.
Do Ho Suh. Passage/s, installation view, 2017, Victoria Miro Gallery II, London. Courtesy the artist, Lehmann Maupin, New York and Hong Kong, and Victoria Miro, London. Photograph: Thierry Bal. © Do Ho Suh.
With the lightest of touches, artist Do Ho Suh can transform the architectural into a symbol of the transient – and temporal – nature of life.
TeamLab. Universe of Water Particles, Transcending Boundaries. Photograph courtesy teamLab © 2016 teamLab, courtesy Pace Gallery.
The founder of teamLab, an interdisciplinary group of ‘ultra-technologists’, explains how digital technology can expand art and remove the barriers between the work and the viewer.
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