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Lauren Halsey: Emajendat
Lauren Halsey, Emajendat, 2024. Installation view, Serpentine South. © Lauren Halsey. Photo: © Hugo Glendinning. Courtesy Serpentine.
Halsey’s multicolour, candyfloss, shout-out vision of a universe is an image of what it is to be part of something, to believe and to thrive, to make a mark
Jean Tinguely. Philosophers series (1988-89). Installation view, Pirelli HangarBicocca, Milan, 2024. Museum Tinguely, Basel. Donation Niki de Saint Phalle. A cultural commitment of Roche. Courtesy Pirelli HangarBicocca, Milan. Jean Tinguely: © SIAE, 2024. Photo: Agostino Osio.
Barbie dolls, garden gnomes, toy gorillas and an exploding penis reveal Tinguely’s mischievous spirit in this fiesta of ideas, movement and noise.
Left to right: Lizzie Munn, Karolina Albricht and Basil Beattie at the opening of Unreal City: Abstract Painting in London, Saatchi Gallery, London, 2024. Photo: Martin Kennedy.
Three artists talk about the paintings they are exhibiting in the Saatchi Gallery’s Unreal City: Abstract Painting in London.
Sammy Baloji, Aequare. The Future that never was, 2023. Still. Courtesy of the artist and Galerie Imane Farès.
A well-sized survey distils the Congolese artist’s research-heavy practice, which draws connections between colonial and contemporary exploration.
Anna Perach. Photo courtesy the artist.
The artist talks about why she is more like Sergei Diaghilev than Taylor Swift, how she explains the incest and murder in Greek mythology to her son, and what led to her interest in tufted fabric.
James Abbott McNeill Whistler. The Little Venice, 1879–80. Etching and drypoint, sheet: 7 3/8 × 10 9/16 in (18.7 × 26.8 cm). © Staatliche Museen zu Berlin, Museum of Prints and Drawings / Wolfram Büttner.
With rarely shown works by famous artists, this exhibition demonstrates how new printing techniques extended impressionism beyond painting.
Anya Gallaccio. The inner space within, 2008/2024. Ash tree, bolts, stainless steel. Ash from Lees Court Estate. Installation view, Anya Gallaccio: preserve, Turner Contemporary, 2024. © Anya Gallaccio. Courtesy the artist and Turner Contemporary. Photo: Jo Underhill.
Ephemeral installations incorporate melting candles, felled trees, ageing fruit and decomposing flowers, but the showstopper is a mighty felled ash that dominates an entire gallery.
Mike Kelley, More Love Hours Than Can Ever Be Repaid and The Wages of Sin, 1987. Whitney Museum of American Art, New York; purchase with funds from the Painting and Sculpture Committee 89.13a-d. © Mike Kelley Foundation for the Arts. All Rights Reserved/VAGA at ARS, NY and DACS, London 2024.
A long overdue London retrospective of the pioneering, prescient American artist is not for the faint-hearted.
Emma McNally, The Earth is Knot Flat, 2024. Graphite, paper, kaolin, gum arabic. Installation view, Drawing Room/Tannery Arts, London. Photo: Eva Herzog.
Installed by the artist over the month preceding its opening, this exhibition draws us into a manifold landscape of fragility and contingency.
Sophia Al-Maria and Lydia Ourahmane. Fly Tip, 2024. Scavenged possessions, loose fibres, latent prints, trace evidence (hair, paint chips, insects etc), miscellaneous residues (cigarette ash, arsenic contaminants, urine etc.), aluminium bag, impulse seal, vacuum pack. Installation view, Grey Unpleasant Land at Spike Island, Bristol, 2024. Photo: Rob Harris.
From chamberpots paired with Georgian silver to the reimagining of the story of Jacob and Esau, the two artists, working together for the first time, point up multiple dualities and inequalities.
Magdalene Odundo, installation view, Thomas Dane Gallery, London. © Magdalene A.N. Odundo. Courtesy the artist and Thomas Dane Gallery. Photo: Ben Westoby.
This stripped-back exhibition, with just three drawings and six hand-built vessels, allows the stark elegance of Odundo’s work to shine through.
The Imaginary Institution of India: Art 1975-1998. Installation view, Barbican Art Gallery. 5 October 2024 – 5 January 2025. © Eva Herzog Studio / Barbican Art Gallery.
The Barbican takes us on a fascinating ride through two and a half decades of Indian art, teasing out the transformations and contradictions in the country’s recent history.
J. Paul Getty Museum, Sculpting with Light: Contemporary Artists and Holography. Deana Lawson, Torus, 2021 (exhibition copy 2023). Transmission hologram mounted to glass plate. Courtesy of the artist, Gagosian, New York, and David Kordansky Gallery, Los Angeles. © Deana Lawson. Photo: Matthew Schreiber.
Five years in the planning, this festival of art, spanning the West Coast from Santa Barbara to San Diego, involves 70 exhibits by more than 800 artists and a range of material that puts multimedia in the light.
Mary Mary, Artist’s Garden, Temple Place, London. Image courtesy theCOLAB The Artist's Garden. Photo © Nick Turpin.
Outdoor sculptures by nine female artists are on display in this show, but it’s hard not to feel that they deserve better than this neglected space.
Bodhisattva, China, Ming dynasty, Yongle period, 1403-1424. Musée Cernuschi, Paris.
A majestic exhibition at the national museum of the Netherlands offers a refreshing take on ancient Asian sculptures spanning four millennia.
Maurice de Vlaminck. The Boats, 1905. Oil on canvas, 46.2 × 54 cm. Private collection. © VG Bild-Kunst, Bonn 2024.
This retrospective of Maurice de Vlaminck is the first in nearly 100 years and gives an overview of the French painter’s work that goes beyond his early fauvist period and bold use of bright colours.
Kenji Ide: Some other times. Władysław Broniewski Museum, Warsaw. Photo: Bartosz Zalewski.
The Japanese artist fills the house of a Polish poet with his eloquent miniature sculptures. Although born from memories of nighttime walks and drives, they have a remarkable stillness.
Claude Monet, Houses of Parliament, Sunset, 1900-03. Oil on canvas, 81.2 x 92 cm. Hasso Plattner Collection.
Industrial pollution is imbued with celestial light in Monet’s extraordinarily atmospheric paintings of the Thames. This is an exhibition not to be missed.
Thomas Houseago, film still, Malibu, California, 2024, courtesy of Angel Projects and Andrew Dominik.
You can feel the energy ricocheting between Houseago and his hulking, portentous figures as he takes us on a journey from darkness to light.
Gabriella Boyd. Courtesy of the Artist.
The artist shares the experiences and educational journeys through which her layered and intimate paintings have evolved, revealing interior and exterior worlds in a richly emotive palette.
Alia Farid, In Lieu of What Is, 2022. Installation view, Henie Onstad Kunstenter, Høvikodden, Norway. Photo: Christian Tunge.
A survey exhibition of the prize-winning Kuwaiti-Puerto Rican artist spotlights her intelligence and sensitivity to materiality, but could do with more assertion.
Uncanny Visions: Paula Rego and Francisco de Goya at the Holburne Museum, Bath. Photo: Jo Hounsome.
Rego, like Goya, whom she so much admired, has the power to unsettle and disconcert. This exhibition pairing work by them both is thrilling and full of surprises.
Alfred Kubin. Sadness, after 1900. Ink on paper, 20.5 x 34.6 cm, The Albertina Museum, Vienna © Eberhard Spangenberg, München / Bildrecht, Vienna 2024.
This new exhibition sheds fresh light on the personal hell of the artist whose nightmarish visions dominated his life and work.
Immortal Apples, Eternal Eggs, installation view, Hastings Contemporary. Photo: Chip Creative.
This extensive exhibition of still life works from two major collections is full of clever visual pairings and rich in conceptual layers.
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