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Curators Kokoli and Śliwińska and artists Małgorzata Markiewicz and Su Richardson talk about the exhibition Home Strike at I’étrangère in London
Su Richardson talks about her work in the exhibition Home Strike at I’étrangère, London, March 2018. Photograph: Martin  Kennedy.
Su Richardson talks about her crocheted works, made in the 1970s, and also more recently constructed body parts “indicating bitter fantasies”.
Gerald Laing. Shout, 1965. Oil on canvas, 58 x 48 in (147 x 122 cm). Private collection, Minnesota. © The Estate of Gerald Laing.
Presenting Roy Lichtenstein, Sigmar Polke and Gerald Laing in dialogue with each other within the context of their pop-inspired pointillism, Source and Stimulus is a vibrant study of the origin of the Ben-Day dot in fine art.
Alge Julija Kavaliauskaite. Photograph: Finnish National Gallery, Petri Virtanen.
Kavaliauskaitė, originally from Lithuania but now living in Finland, talks about art and alchemy, haunted mansions, her latest exhibition and why she was drawn to live in Nuutajärvi, a village famous for its glass-blowing.
Cybernetic Serendipity: the computer and the arts. Edited by Jasia Reichardt. Published by Studio International (special issue), 1968.
Catherine Mason considers the ICA’s groundbreaking computer art exhibition of 1968 and looks at how it has shaped digital art in the 50 years since.
David Milne. Red, 1914. Milne Family Collection. Photograph: Michael Cullen, Toronto Canada. © The Estate of David Milne.
An exhibition of work by the Canadian painter David Milne charts his progression from depictions of New York city scenes to the battlefields of France and Belgium back to the rural US and Canada, influenced on the way by European painters such as Cézanne, Matisse and Brâncuși.
Ardent Soffici. Watermelon and Liqueurs, 1914. Mixed media and collage on card, 64.6 x 54 cm. Courtesy: Pinacoteca di Brera, Milan.
Teeming with hidden treasures, this exhibition is a compact survey of key movements and artists in Italian modern art in the early 20th century, a febrile moment in the country’s artistic and political history.
Zhang Enli. The Broken Sofa, 2017. Oil on canvas, 220 x 180 cm (86 5/8 x 70 7/8 in). © Zhang Enli. Courtesy the Artist and Hauser & Wirth.
The artist known for focusing on the poetic aspects of daily life talks about new approaches to painting as seen in his current series of works, which draws on gardens situated in the bustling urban environment of Shanghai.
Leah Schrager. Infinity Selfie, SFSM (Safe for Social Media) IIII, 2016 © The Artist.
This exhibition looks at how social media platforms and the digital manipulation of images are being used to reflect on the ideals of female bodies.
Tarsila do Amaral. City (The Street), 1929. Oil on canvas, 31 7/8 × 21 1/4 in (81 × 54 cm). Collection of Bolsa de Arte. © Tarsila do Amaral Licenciamentos.
As revealed by this tightly curated exhibition at New York’s Museum of Modern Art, Tarsila do Amaral, the latest artist to ride the current wave of Brazilian modernism, turns out to have invented it.
Camille Claudel. Torse de Clotho (Torso of Clotho), c1893. Plaster, 44.5 × 25 × 14 cm. © RMN-Grand Palais (Musée d'Orsay). Photograph: Martin Kennedy.
Her legacy has often been dwarfed by her biography – as Rodin’s student and lover, who spent 30 years in a psychiatric institution. But with a new museum in her name, and 11 of her works saved for the French nation, Camille Claudel is coming out of the shadows.
Małgorzata Markiewicz talks to Studio International about her video The Resistance Kitchen (2017), part of the exhibition Home Strike at I’étrangère in London, March 2018. Photograph: Martin Kennedy.
Krakow-based artist Małgorzata Markiewicz talks about her video The Resistance Kitchen (2017), responding to the policies from the current rightwing Polish government that violate women’s rights.
Cary Leibowitz. Please Don't Tell Anyone You Saw Me, 2016. Latex paint on wood panel, 32 x 38 in. Courtesy of the artist and INVISIBLE-EXPORTS.
For his first major retrospective, the undersung American artist fills the ICA Philadelphia with more than 300 works that span a 30-year career. Leibowitz discusses how he established himself as an artist in the 1980s and 90s, and the origins of Candyass, his longstanding moniker.
Portrait of Anthony McCall at Hepworth Wakefield. Photograph: Guzelian.
The pioneer of immersive, sculptural light installations explains his process and procedures, interests in performance, film and architecture, and his new exhibition at the Hepworth Wakefield.
Claudia Wieser: Chapter. Installation view. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Claudia Wieser. Photograph: Jens Wiehe.
Ahead of the opening of her current show at the Marianne Boesky Gallery in New York, Berlin-based artist Claudia Wieser discusses her references from 1970s TV to Greek plays, and the danger of making work that is too beautiful.
Creativity and Collaboration: Revisiting Cybernetic Serendipity symposium at the National Academy of Sciences Sackler Colloquium, Washington D.C., 2018.
Events planned around the Creativity and Collaboration: Revisiting Cybernetic Serendipity symposium at the National Academy of Sciences Sackler Colloquium, Washington D.C.
Thinking Machines Corporation, Waltham, Massachusetts. Danny Hillis, Tamiko Thiel, Gordon Bruce, Allen Hawthorne, and Ted Bilodeau. CM-2 Supercomputer. 1987. Steel, plexiglass, and electronics. The Museum of Modern Art, New York. Gift of Midori Kono Thiel, Mary Austin in honor of Tamiko Thiel, The Aaron and Betty Lee Stern Foundation, and anonymous. Photograph: Stephen F. Grohe.
The exhibition is a must-see for anyone interested in the early history of computer technology and its connection to art and design.
Portrait of Yto Barrada. © Benoît Peverelli.
Yto Barrada discusses her new exhibition at the Barbican Centre, which draws on a calamitous earthquake and the remarkable text it prompted.
Maija Luutonen. Photograph: Finnish National Gallery / Petri Virtane.
Maija Luutonen is the inaugural recipient of the Kiasma Commission by Kordelin, a project to promote contemporary Finnish art. Here, she discusses her exhibition at Helsinki’s Kiasma Museum of Contemporary Art, community-building, monuments and painting on paper.
Glenn Brown. Come to Dust, 2017. Oil on panel, 115 x 71 cm. © Glenn Brown. Courtesy of the artist and Gagosian. Photograph: Lucy Dawkins.
In a hulking presentation at Gagosian, the painter laureate of putrefaction continues to moulder old masterpieces into pestilent husks. To what end remains elusive.
Michael Armitage. Conjestina, 2017. © Michael Armitage. Photograph © White Cube (Ben Westoby). Courtesy of the Artist and White Cube.
The artist weaves multiple narratives to evoke the complexity of East African society. Here, he talks about his exhibition The Chapel, at the South London Gallery, and how it gave him the chance to think about religion, spirituality and politics in a new way.
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