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Bharti Kher: interview

Kher talks about the difficulty of being identified as an ‘Indian’ artist, being a procrastinator, and making material things do things they don’t want to

Bharti Kher. The skin speaks a language not its own, 2006. Courtesy the artist. Photograph: Pablo Bartholomew.
Peter Hill at the opening of Geelong Art Prize 2016, with his painting Text Painting No 1, 2016, 100 x 100cm.
The artist talks about his creation of a fictional museum, his current lecture tour, Fake News + Superfictions, and the artists who have influenced him.
Sofia Stevi. set for play, 2017. Ink, acrylic, gouache on cotton, 200 x 140 cm. Courtesy The Breeder, Athens.
Greek artist Sofia Stevi’s paintings ooze confidence, sensuality and an improvisational spontaneity. Yet her flair and inventiveness with a paintbrush are something of a recent discovery – to Stevi as well as to the rest of us.
Ania Dabrowski talking to Studio International about her installation A Lebanese Archive at the opening of the group show From Ear to Ear to Eye at Nottingham Contemporary, 15 December 2017. Photograph: Martin Kennedy.
Ania Dabrowska (b1973) is a Polish-born artist now living in London. She works with photography, moving image, installation, text and sound, and has a particular interest in the political and creative potency of archives within contemporary culture. She has had solo and group shows in the UK, Germany, the US, India and the Middle East, and has participated in several residencies.
Creativity and Collaboration: Revisiting Cybernetic Serendipity. Arthur M. Sackler Colloquia of the National Academy of Sciences, Washington DC.
The Studio International special issue Cybernetic Serendipity: The Computer and the Arts was first published in July 1968 to accompany the ICA exhibition of the same name curated by Jasia Reichardt. Both the publication and the exhibition are now legendary.
Köken Ergun. Photograph: A Donnikov © Garage Museum of Contemporary Art, Moscow.
The Turkish film-maker talks about his 2005 video I, Soldier, and its relevance to the political situation in his country today.
Kehinde Wiley and Yinke Shonibare. Installation view. Photograph: Jill Spalding.
It was all systems go – quality art, media buzz, more space, more work – but with a lower attendance and many big collector names absent, America’s premier art fair had a last hurrah undertow.
John Stezaker. The Voyeur I (Photoroman), 1976. Collage, 5.94 x 3.7 in (15.1 x 9.4 cm). Courtesy of the artist and Petzel, New York.
The British artist discusses a series of 1970s collages that launched his career, and which have been brought together for an exhibition in New York.
Sam Gilliam. After Micro W #2, 1982. Acrylic on polyester, 114.3 x 172 x 22.9 cm. Private collection, Europe.
Art critic Clement Greenberg coined the term ‘post-painterly abstraction’ to describe the work of the five artists in this exhibition – Morris Louis, Ed Clark, Sam Gilliam, Frank Bowling and Kenneth Noland – yet, until recently, many of them haven’t received the recognition they deserve.
Nnenna Okore. Photograph: Jonathan Greet.
Okore’s sculptures are poetic odes to the natural world. But beneath the delicate beauty there lies a pervading tension. She talks about how life and death in the natural world informs her practice.
Louisa Fairclough. A Rose, 2017. 1 x 16mm film looped (colour, silent, 9 min) projected onto a suspended acrylic screen, 1 x performance for a field recording pressed onto dubplate vinyl (20 min). Installation view: A Song cycle for the Ruins of a Psychiatric Unit, Danielle Arnaud Gallery, 2017. Photograph: Oskar Proctor. Courtesy the artist and Danielle Arnaud.
At the Danielle Arnaud gallery in London, Louisa Fairclough’s exhibition A Song Cycle for the Ruins of a Psychiatric Unit uses a derelict mental hospital as metaphor for the turmoil of psychological trauma.
Glenn Ligon. One Black Day, 2012. Neon, 5 x 24½ in (12.7 x 62.2 cm). © Glenn Ligon; Courtesy of the artist, Luhring Augustine, New York, Regen Projects, Los Angeles, and Thomas Dane Gallery, London.
A museum committed to the art of the American South presents an exhibition that highlights the contributions of postwar and contemporary African-American artists in order to assert their place within mainstream modernist narratives.
Iggy Pop life class by Jeremy Deller. New York, February 21, 2016. Organised by the Brooklyn Museum: Photograph: Elena Olivo. © Brooklyn Museum.
This exhibition sets out to explore the significance of life drawing and the life class in art practice, but the real joy of drawing is largely overlooked.
Raed Yassin, Ruins in Space, 2014. Courtesy artist and Kalfayan Galleries, Athens – Thessalonki. Installation view, From Ear to Ear to Eye, Nottingham Contemporary, Dec 2017- Mar 2018. Photograph: Stuart Whipps.
This powerful show fuses art and music in an attempt to open ears and eyes to life in the Arab world.
The Tibetan Buddhist Shrine Room from the Alice S. Kandell Collection. Gifts and promised gifts from the Alice S. Kandell Collection to the Arthur M. Sackler Gallery, Smithsonian Institution, Washington, DC. Photograph by Miguel Benavides
As 2017 Museum Gift of the Year, Studio International has chosen the Tibetan Buddhist Shrine, a magnificent donation by Dr Alice Kandell of more than 200 precious Buddhist artefacts to the Arthur M Sackler Gallery in Washington DC.
Ed Ruscha. The Music from the Balconies, 1984. Oil paint on canvas, 251.5 x 205.7 cm. Collection: Scottish National Gallery of Modern Art. Artist Rooms National Galleries of Scotland and Tate. Presented by the artist 2009. © Ed Ruscha.
Moving to Los Angeles at 19, having grown up in Oklahoma City, Ed Ruscha was always an outsider. His detached perspective is a quality that has remained in his work – which would become so concerned with the city – over the decades that followed.
Shirazeh Houshiary. Photograph: Dave Morgan. Courtesy Lisson Gallery.
Houshiary talks about evolution, Einstein and shamans, and how her work involves thinking in other dimensions.
The Bass, Miami Beach. View of the historic 1930s structure designed by Russell Pancoast. Image courtesy of The Bass, Miami Beach. Photograph © Robin Hill.
After more than two years and a $12m makeover by architects David Gauld with Arata Isozaki, the Miami Beach museum of art has opened its doors once again. It’s more spacious and welcoming and has some ambitious work on show.
Yayoi Kusama Museum, Bentencho, Shinjuku-ku. Exterior view, ground level. © Yayoi Kusama.
Japanese artist Yayoi Kusama, famous for her polka dots and pumpkins, opened her own museum in Tokyo in October, where she can permanently show her works and promote her message of world peace and love for humanity.
William Kentridge, Ursonate, 2017. St Thomas the Apostle Church, Harlem, New York. Courtesy of Performa. Photograph © Paula Court.
William Kentridge talks about his recent performance of Kurt Schwitters’ sound poem Ursonate, dadaists and interpreting the world.
Veronica Ryan at Yorkshire Sculpture Park. Photograph: Axisweb.
The artist talks about her continuing connection with the sculptures of Barbara Hepworth, and how her interest in psychological trauma, and her own family history, has shaped her art.
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