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Patrick Heron. Big Complex Diagonal with Emerald and Reds : March 1972 - September 1974, 1974 (detail). Oil paint on canvas. © Estate of Patrick Heron. All Rights Reserved, DACS 2018.
Patrick Heron’s postwar abstraction places figure and ground on an equal footing and exploits the all-important edge between forms and colours to create intense expressions of musicality and emotion
Bodys Isek Kingelez outside his home in Kinshasa, 2014. Courtesy André Magnin, Paris. Photograph: Fredi Casco.
From individual buildings to large cityscapes, all the sculptures in this first US retrospective of Kingelez’s work exude his optimism and vibrancy. And, thanks to virtual reality, MoMA gives us the chance to walk the streets of one of his cities.
Jene Highstein: Space and Place, installation view, March 2018. Copyright 2018, JPNF. Photograph: Musthafa Aboobacker.
Deborah Najar’s carefully considered and sensitive choice of Highstein’s works is accompanied by short videos, photographs, archival material and correspondence between the artist and her father.
StudioKCA, Skyscraper (the Bruges Whale), 2018. © VisitBruges | Jan D’hondt.
For the duration of the summer, visitors to the liquid city of Bruges are invited to ponder a more metaphorical interpretation of this notion of fluidity, thinking about how the city – and they themselves – might adapt in the light of the growing conviction that change is the only permanence.
Paul S. Taylor. Dorothea Lange in Texas on the Plains, c1935. © The Dorothea Lange Collection, the Oakland Museum of California.
A photographer of fierce resolve and compassion, Dorothea Lange knew how to capture the very essence of struggle.
Lee Bul. Willing To Be Vulnerable - Metalized Balloon, 2015-2016. Installation view at Hayward Gallery, London 2018 © Lee Bul 2018. Photograph: Linda Nylind.
The Korean artist’s London retrospective shines brightest when it is clear and direct.
The Enforced Disappearance of the 43 Ayotzinapa Students 
Iguala, Mexico, 26-27 September 2014. At the Palacio de Justicia, between 12 and 14 students (red) were beaten up and loaded into the back of multiple police vehicles (turquoise). Image: Forensic Architecture, 2017.
Forensic Architecture has never designed a building. Instead, it acts as an architectural detective agency to expose human rights abuses. Samaneh Moafi, one of its project leaders, talks about art prizes, the innovative potential of multidisciplinary collaboration and the role of aesthetics in the organisation’s investigations.
Philip Baldwin and Monica Guggisberg.
Having just installed 10, mostly blown-glass pieces around Canterbury Cathedral for their exhibition Under an Equal Sky, Philip Baldwin and Monica Guggisberg talk about these new works and the resonance between their historic setting and their chosen issues of migration, diversity and community.
Sadie Laska talking to Studio International at Newport Street Gallery, London, 12 June 2018. Photograph: Martin Kennedy.
New York-based Sadie Laska, who is both a painter and a drummer, brings her improvisation skills into her wall-based works, using collage, small objects and brushed colour in flight. Each work embraces the tactility of materials and the motion of thoughts and actions in the process of making.
Phoebe Cunningham. I am One With the People, 2018. Video installation, approx 10 mins, loop.
Surreal, witty and at times unsettling, Whitstable Biennale 2018 is full of surprises.
Studio of Katharina Grosse, Berlin, 2018.
Across 11 portrait canvases and one enormous fabric hanging, Grosse’s complex, multilayered works appear as seemingly prehistoric scrawls, imbued with vital energy in a maelstrom of colours.
Ruimteveldwerk: twin brothers Brecht and Sander van Duppen, Pieter Brosens and Pieter Cloeckaert.
A social experiment investigating themes of being offline, privacy, and silence in the city brings about surprising results in Bruge’s Saint Trudo almshouses as part of this year’s triennial.
Joana Vasconcelos speaking to Studio International at the opening of I’m Your Mirror, Guggenheim Bilbao, 28 June 2018. Photograph: Martin Kennedy.
Joana Vasconcelos has filled the Guggenheim Bilbao with work from the past 20 years. She talks about craft, the importance (or otherwise) of scale, and how she seeks to expose and explode the myths and realities around female experience.
Justin Ponmany's performance, Anthroprocenium, 2018. Image courtesy Yinchuan Biennale.
There are some strong individual showings at the biennale, but its curatorial framework is a mystery and, despite its title and location outside a vastly expanding city on the edge of the Gobi desert, it shows nothing that is critical of China’s environmental policy, state censorship or treatment of workers.
Katharina Sieverding. Photograph: Kristian Vistrup Madsen.
Part of the collateral programme of this year’s Manifesta Biennial in Palermo is a career-spanning solo exhibition by the Czech-born, German artist. Here, Sieverding talks selfies, fascism and fake news.
Alberto Giacometti. Monumental Head, 1960. Plaster, 39 9/16 x 12 1/2 x 16 15/16 inches (100.5 x 31.7 x 43.1 cm). Fondation Giacometti, Paris.
This thoughtful and revealing survey of an artist the Guggenheim exhibited in 1955 with Giacometti’s first-ever museum show and the museum’s first large-scale sculpture show focuses on rarely seen works in plaster to illuminate the genius of a mastery laid out here as process.
Alex Mirutziu, Between too soon and too late, 2018. Installation view, Delfina Foundation, London. Photograph: Tim Bowditch. Courtesy Delfina Foundation and European ArtEast Foundation.
The Romanian artist talks about his latest exhibition, examining the life and work of Iris Murdoch, and discusses the biomechanics of writing, necrophilia and the novelist’s teddy bear.
Helen Beard, Sadie Laska and Boo Saville talking to Studio International at their exhibition True Colours at Newport Street Gallery, London, 12 June 2018. Photograph: Martin Kennedy.
True Colours, curated by Damien Hirst for his Newport Street Gallery in London, shows works by Helen Beard, Sadie Laska and Boo Saville. We talked to the three artists about the works they have in the show.
Helen Beard talking to Studio International at Newport Street Gallery, London, 12 June 2018. Photograph: Martin Kennedy.
Helen Beard’s striking and marvellously simplified, flat colour images, take you by surprise in a number of ways. The fresh colour forms pack a satisfying punch even before the viewer has undergone the gradual realisation that the paintings portray a varied range of sexual acts.
Catherine Parsonage. Suddenly Every Wednesday, 2017. Acrylic on canvas, 122 x 183 cm. © the artist.
The artist talks about how living in Rome has changed her work, why she is so interested in bodily fluids, and the role that alcohol and desire play in her painting.
Manuel Mathieu. Loyalty, 2017. Mixed media, 70 x 80 in. Photograph: Guy L’ heureux.
The Haitian artist talks about coming to terms with his country’s turbulent history and some personal challenges, and why he doesn’t take the business of making art lightly.
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