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Martin Clark, Beatrice Gibson, Mark Fell and Steven Claydon. Art Sheffield, 2016. Photographs: Martin Kennedy.
For this citywide event, curator Martin Clark aims to inspire a connection between different parts of Sheffield in an event that revolves entirely around sound and video art. Studio International spoke to him and some of the artists involved.
Lawrence Lek. QE3, 2016.
The biennial festival returns for its seventh edition with more than 220 contemporary artists from all over the world. This ambitious collection includes new works, site-specific commissions and new venues throughout the city.
Lucy Jones. Sitting, 2015. Oil on canvas, 120 x 100 cm. © Lucy Jones, Courtesy of Flowers Gallery London and New York.
The artist talks about her recent return to making portraits of others, and explains what she sees as a balancing act between the tools that go to make up the language of a painting.
Todd Oldham runway show, Spring 1993. Photograph: Dan Lecca. Courtesy of the Todd Oldham Studio.
The New York-based designer talks about designing $10,000 dresses, his aversion to using animal materials, and his experiences of the New York fashion scene in the 1990s.
Bernard Jacobson at his gallery in Duke Street, London, 21 March 2016. Photograph: Martin Kennedy.
The art dealer talks about his current exhibition, Bonheur de Vivre, which he considers ‘a precis of 20th-century beauty’, a return to art that focuses on passion, joy, happiness, light and colour.
Terry Setch at Flower Cork Street, London, 21 March 2016. Photograph: Martin Kennedy.
The artist explains his practice, recalling memories of the beach at Penarth and his desire to extend the surface of his paintings. We spoke to Setch at Flowers Cork Street, at the opening of his exhibition, Reduced to Rubble.
Jane and Anthony Eyton, London, 17 March 2016. Photograph: William Kennedy.
As they prepare for their first exhibition showing together as a family, Anthony Eyton RA and his sculptor daughter Jane reflect on the enduring influence of Anthony’s mother Phyllis, a painter, who died in a riding accident when he was a child.
Heidi Kilpelainen. Last Nation / HK119 Debut Album, One Little Indian Records, 2006. Still from video.
The London-based Finnish artist talks about her multidisciplinary practice and her recent residencies in London and Helsinki.
Stephen Shore. Ginger Shore, Causeway Inn, Tampa, Florida, Nov. 17, 1977. From the series Uncommon Places. © Stephen Shore. Courtesy 303 Gallery, New York & Sprüth Magers.
At 17, Shore was already photographing Andy Warhol and his collaborators. This comprehensive exhibition, which traces Shore’s career from the 60s on, shows the skill with which he captures everyday scenes and mundane objects, and his continuing innovation.
Mark Wallinger. Photograph: Grazyna Dobrzanska-Redrup. © Mark Wallinger. Courtesy the artist and Hauser & Wirth.
After months of psychoanalysis, the Turner Prize-winning artist reveals something of his inner self in his debut solo show at Hauser & Wirth. The id, the ego and the superego are all vying for attention and begging interpretation.
François Morellet in his studio, Cholet. Courtesy The Mayor Gallery, London.
Two exhibitions, at London’s Mayor Gallery and Annely Juda Fine Art, mark the 90th birthday of one of the leading figures of postwar European art, who once described himself as the ‘monstrous son of Mondrian and Picabia’.
Hannes Koch of Random International talks about the collective’s latest project. Random International's studio, west London, 14 April 2016. Photograph: Martin Kennedy.
Hannes Koch of Random International talks about the collective’s latest project, producing a kinetic artwork consisting of 15 points of light, recognisable almost instantaneously as the human form.
Anonymous, Flemish. Satirical Diptych, 1520-30. Oil on wood, 58.8 x 44.2 x 6 cm. Université de Liège - Collections artistiques (galerie Wittert) © Collections artistiques de l’Université de Liège.
Paris is, as ever, a cauldron of art, but one breakout exhibition, expertly curated to challenge the old rules of staging, stirs the imagination, quickens the eye and gladdens the soul.
Arnaldo Pomodoro. Photograph: Francesco Maria Colombo.
As Italian sculptor Arnaldo Pomodoro has his first London exhibition for more than 50 years, he talks about his work and the influences that have shaped it.
Rachael House. A reminder for Pride, 2015. Acrylic ink on paper, 29.7 x 42 cm.
This is a groundbreaking exhibition of female comics artists, from Hogarth’s contemporary Mary Darly to the modern day. Below, Sarah Lightman, Nicola Streeten and Rachael House talk to us about their work.
Pablo Picasso. Still Life with Compote and Glass, 1914–15. Oil on canvas, 25 x 31 in. Columbus Museum of Art, Columbus, OH. © 2016 Estate of Pablo Picasso / Artists Rights Society (ARS), New York | Gift of Ferdinand Howald.
The exhibition succeeds in introducing the complicated story of Picasso’s simultaneous exploration of cubism and classicism, but more could have been done to explore his continuing fascination with the latter after the first world war ended.
Ilia Repin. Baroness VarvaraIkskul von Hildenbandt, 1889. State Tretyakov Gallery, Moscow.
This exhibition introduces visitors to the talents and turmoil of the Russian arts scene from 1867 to 1914 with some exquisite loans from the State Tretyakov Gallery in Moscow. Emily Spicer spoke to Dr Rosalind Blakesley, curator of Russia and the Arts, about some of the stars of this exhibition and how the show came together.
Alex Israel. Self Portrait (Wetsuit), 2015 Acrylic on aluminium, 
202 x 71 x 56 cm
. Courtesy the artist. With special thanks to Peres Projects, Berlin, for their support.
Prepare for a sensory bombardment in this sprawling exhibition, which examines the concept of surface, moving from an idea of the universe as a protective surface around us to examining notions of permanence, superficiality and digital culture.
Becky Beasley. The Left Door / La Derniere Porte (Athens Archive), 2004/2005. Gloss fibre-based gelatin silver print, Archival linen tape, metal eylets, 120 x 120 cm (47.28 x 47.28 in). Courtesy: Laura Bartlett Gallery, London.
The British artist’s new solo exhibition reflects her unwavering interest in physical and non-physical perspective, while simultaneously inviting us to see what it’s like inside her mind, her heart and possibly her living room.
Michelle Stuart. Sacred Solstice Alignment, 1981-2014. Archival inkjet photographs from analog black and white, approx 36.25 x 69.75 in. Photographs taken in 1981. Photograph: Bill Orcutt. Courtesy the artist and Leslie Tonkonow Artworks + Projects.
For Stuart, each photograph matters in such a way that when we look at one or many of them, we sense a connection to some eternal, primeval truth.
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