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Pierre Le-Tan: The Collection of Monsieur X, installation view at Tristan Hoare Gallery, London. Image courtesy of Tristan Hoare Gallery.
The French artist and illustrator explains his love of collecting, his collaboration with Patrick Modiano and why he stopped working for magazines
Phoebe Unwin. Almost Transparent Pink, 2018. Oil on canvas, 51 x 41 cm. © the artist. Courtesy Amanda Wilkinson Gallery, London.
Unwin describes the role of memory in the 10 oil paintings of this solo show and explains why she resists being aligned with any specific group or movement.
Billy Apple speaking to Studio International at The Mayor Gallery, London 2018. Photo: Martin Kennedy.
Billy Apple is not just an artist – he’s a trademarked brand. He talks about exchanging his art for a knee operation and his new exhibition at the Mayor Gallery, London.
Stephen Farthing. Photo: Dan Stevens.
Farthing explains how his Miracle paintings, now on show at Salisbury Cathedral, came from a conversation he had with a Coptic priest in Cairo.
Berlinde De Bruyckere, Stages & Tales, installation view, Hauser & Wirth Somerset, 2018. © Berlinde De Bruyckere. Courtesy the artist and Hauser & Wirth. Photo: Mirjam Devriendt.
In two powerful sets of new work at Hauser & Wirth’s Somerset outpost, the Belgian sculptor moves beyond her figurative past in an attempt to capture the tragedy of the present day.
Jusepe de Ribera, Apollo and Marsyas, 1637. Oil on canvas, 182 x 232 cm. Museo e Real Bosco di Capodimonte, Naples. Photo: Museo e Real Bosco di Capodimonte on kind concession from the Ministero dei beni e delle attività culturali e del turismo.
This exhibition, the first in the UK dedicated to the work of Jusepe de Ribera, delves in to the motivations behind some of the baroque artist’s most arresting images of suffering.
Canoe prow figure nguzunguzu. Wood, pigments, resin, shell, 16.5 x 9 x 15.5 cm. Marovo Lagoon, New Georgia Archipelago, Solomon Islands, collection Eugen Paravicini 1929, © Vb 7525; Museum der Kulturen Basel. Photo: Derek Li Wan Po, 2013, all rights reserved.
A haunting exhibition that will transport those visiting the Royal Academy of Arts to a world of Pacific gods and powerful ancestors.
Heidi Bucher, installation view at Parasol unit, London, September 2018. Photo: Benjamin Westoby. Courtesy of Parasol unit foundation for contemporary art.
The Swiss artist’s intriguing latex ‘skinnings’ of buildings and objects are shown for the first time in a UK public institution, 25 years after her death.
The Gallery. Photo: Scott Frances. Courtesy: Glenstone Museum.
Mitchell and Emily Rales’s $125m extension of Glenstone – due to open on 4 October – makes it one of the world’s largest private museums, with six buildings, 230 landscaped acres and a formidable collection. The only problem will be getting in.
V&A Dundee, Scotland. View from the River Tay. © HuftonCrow.
Kengo Kuma has delivered a new landmark in the V&A Dundee. It is a craggy sculptural structure inspired by the city’s shipbuilding past and Scotland’s rugged cliffs, which Kuma hopes will reconnect the city with nature. Inside, he has crafted an interior of warmth and welcome. But has he delivered a ‘living room for the city?’.
Banu Cennetoğlu. 1 January 1970 – 21 March 2018 · H O W B E I T · Guilty feet have got no rhythm · Keçiboynuzu · AS IS · MurMur · I measure every grief I meet · Taq u Raq · A piercing Comfort it affords · Stitch · Made in Fall · Yes. But. We had a golden heart. · One day soon I’m gonna tell the moon about the crying game (2018). Installation view, Chisenhale Gallery, 2018. Commissioned and produced by Chisenhale Gallery, London. Courtesy of the artist. Photo: Andy Keate.
Istanbul-based artist Banu Cennetoğlu talks about the List, a documentation of refugees known to have died trying to reach Europe, now on show at the Liverpool Biennial, her recent film at the Chisenhale that spanned more than 128 hours, and the images we create of ourselves and other people.
Goldsmiths Centre For Contemporary Art, entrance view. Image courtesy of Assemble.
The Turner Prize-winning architectural collective Assemble has transformed an old bathhouse into a contemporary arts centre that is idiosyncratic and joyful.
Poster art by Martiszu in the Sophienspital Grounds. Photo: Veronica Simpson.
What’s the difference between design and art? This year’s Vienna Design Week went a long way to answering that perennial question. Designers, artists, architects and educators from all over central Europe used this platform to interrogate how and why we live the way we do, and proposed intriguing, absorbing or simply beautiful solutions.
Dan Graham speaking to Studio International at Lisson Gallery, London 2018. Photo: Martin Kennedy.
As Dan Graham’s new show opens at the Lisson Gallery in London, he talks about his early days as a New York gallerist, his love of music and why he doesn’t believe his famous pavilions are important.
Richard Wilson, 20:50, 1987. Installation view at Space Shifters. © copyright the artist, courtesy Hayward Gallery 2018. Photo: Mark Blower.
From Ann Veronica Janssens’ Magic Mirrors to Anish Kapoor’s mind-bending sculptures, this playful exhibition will leave you questioning the reliability of your senses.
Marc Chagall. Self-Portrait with Easel, 1919. Gouache on paper, 7 5/16 x 8 7/8 in (18.5 x 22.5 cm). Private collection.
By sidestepping radical abstraction and highlighting the quixotic figurative work of Chagall, this exhibition foregrounds the revolution’s potential to bring joy, sex and playfulness into people’s lives apart from political propaganda, utopianism and promises of a better life.
Ugo Rondinone. If There Were Anywhere But Desert, Friday, 2002. Photo: Veronica Simpson.
From slapstick to sarcasm, parody to political activism, this group show at the South London Gallery, curated by Ryan Gander and gallery director Margot Heller, interrogates contemporary artists’ diverse manipulations of humour as a compelling facet of human connection.
3D Festival, V&A Dundee opening. Photo: Ross Fraser McLean.
A two-day, 3D festival celebrated the opening of the V&A Dundee with a visual collaboration between Scottish rock band Primal Scream and artist Jim Lambie, and a light, sound and graphics show by Dundee digital creatives Biome Collective and Agency of None.
Kaye Donachie. Our tears for smiles, 2018. Oil on linen. © Kaye Donachie. Courtesy Maureen Paley, London.
Charleston, home of the Bloomsbury set, is celebrating the opening of a new exhibition and arts space with three concurrent exhibitions, Orlando at the Present Time, Zanele Muholi: Faces and Phases and Vanessa Bell and Duncan Grant’s Famous Women Dinner Service.
Birgitta Hosea, 2017. Photo: Caroline Kerslake.
‘I was always drawing with my mother, and making things with my mother,’ says the artist.
Loie Hollowell. Courtesy Pace Gallery.
Loie Hollowell talks about her latest exhibition at Pace Gallery, London, her first solo show in the UK, and how trying for a baby has influenced her work.
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