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György Kovásznai: A Cold War Artist. Animation. Painting. Freedom

The first UK retrospective of the work of the Hungarian artist, film-maker and animator displayed his extensive and eclectic range

György Kovásznai. Large Yellow Composition (detail), 1982. Photograph: Kovásznai Research Workshop.
William Henry Fox Talbot. William Henry Fox Talbot and Nicolaas Henneman at the Reading establishment, 1846. © National Media Museum, Bradford / Science & Society Picture Library.
This exhibition tells the story of the birth of photography, exploring the vision of the Victorian inventor William Henry Fox Talbot, alongside those of his contemporaries in France, such as painter and set designer Louis-Jacques-Mandé Daguerre.
Elizabeth Price at her south-east London studio, 4 May 2016. Photograph: Martin Kennedy.
Studio International visited the artist in her studio in south-east London to talk to her about her work A Restoration, made for the Ashmolean Museum in Oxford.
David Claerbout. Black Elvis, 2015. Washed ink, felt pen and pencil on paper, 18 1/8 x 24 in (46 x 61 cm). © David Claerbout. Courtesy of the artist and Sean Kelly.
The artist talks about duration, place and history in his practice, and how he sees his way of working as archaeological research rather than a production process.
Martine Syms. Photograph: Christopher Horne.
The Los Angeles-based artist talks about semiotics, funkadelic Afrofuturism, and how to create a 90-minute feature-length film out of 180 30-second clips.
Gillian Wearing. © Gillian Wearing, courtesy Maureen Paley.
The artist talks about the ideas behind her latest film project, A Room With Your Views, which brings together footage from around the world and will be premiered at Brighton Festival.
Charles Richardson, Exeter Phoenix, 16 April 2016. Photograph: Martin Kennedy.
The artist talks about his show at Exeter Phoenix, collaborating with local artists, the importance of music in his work, and whether the physical informs the virtual, or the other way around.
Bosco Sodi, Blain Southern, London, 19 April 2016. Photograph: Martin Kennedy.
Bosco Sodi talks about the two processes in his work: the one where he is in control and the one where he lets go and waits for the surprise of the outcome.
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.
Katie Paterson, Christoph Zeller and Ingrid Moye. Photograph: Max McClure.
With her largest UK show to date currently on at the Lowry, the artist talks about the relationship with heavenly bodies and the wider cosmos, her graveyard of stars and sending her work into space.
Stephen Prina, galesburg illinois+ (installation view), Petzel Gallery, 2016. Courtesy of the artist and Petzel, New York.
The post-conceptual artist talks about his hometown, studying with John Baldessari at California Institute of the Arts, and a missed encounter with John Cage.
Ryan Sullivan. Untitled, 2016. Urethane plastic and pigment, 182.5 x 212.5 x 5 cm (71 ¾ x 83 ⅝ x 2 in). Courtesy Sadie Coles HQ.
For his second exhibition at Sadie Coles, the young American artist eschews canvas and paper, drawing attention instead to the material properties of paint, and producing a dazzling feast of vibrant colour and captured movement.
William Heath Robinson. Playing on Pipes of Corn and versing Love, 1914 (detail). Photograph: © Royal Academy of Arts, London.
With a wit all of his own Heath Robinson captured everything from the sublime to the ridiculous, and in doing so became one of the most versatile illustrators of the 20th century.
Sir William Lyons, Malcolm Sayer, William M. Heynes. E-Type Roadster, 1961. Jaguar Ltd, Coventry, England. Steel body, 48 x 66 x 176 in (121.9 x 167.6 x 447 cm). Gift of Jaguar Cars. Photograph: Jill Spalding.
From a shiny Jaguar E-Type, explosions of colour and a trip through a more muted palette, MoMA has served up the 60s as a tasty new dish, charting the era’s subversive investigations into traditional form, media and design.
Jules de Balincourt. Portrait, 2016. Photograph: © James Bannister.
The painter’s uncanny worlds reflect the post-9/11 zeitgeist with a beguiling charm. The world is a fragile, unsettling place, he says, and it’s difficult not to respond to that.
Asya Dodina and Slava Polishchuk in their studio. Photograph: Ida Polishchuk.
The Russian immigrant artists talk about the difference between art education in the former Soviet Union and in the United States and the importance of using materials as expressive means in their work.
Channa Horwitz. Time Structure Composition III, Sonakinatography I, 1970. Casein paint on graph paper. Courtesy Estate of Channa Horowitz. Photograph: Timo Ohler.
Controlled but creative, formulaic but somehow free, hypnotic in their undulation and unique in their variation, the graph-paper paintings of the late Californian artist demonstrate the infinite possibilities of line and colour.
Spencer Finch. Sunflower (Bee’s View), 2016. Pastel and pencil on paper, 76 x 76 cm. © Spencer Finch. Courtesy of Lisson Gallery
In his third solo exhibition at the Lisson Gallery, Finch attempts to take visitors beyond the limits of natural vision and into a parallel reality occupied by insects, GPS equipment and Martian light.
Michael Dean. Sic Glyphs. Installation view at the South London Gallery, 2016. Courtesy the artist, Herald St, London, Mendes Wood DM, Sao Paulo, Supportico Lopez, Berlin. Photograph: Andy Keate.
Despite the urban construction materials, the steel bars and concrete slabs, there is a strong sense that the viewer must ‘read’ Michael Dean’s sculptures in order to make sense of them.
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