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Interviewed by Hannah Wallis
Bob Dickinson
Maja and Reuben Fowkes
Profile by Tendai Mutambu
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Christine Sun Kim and Thomas Mader, What’s Left, 2025
Christine Sun Kim and Thomas Mader interviewed by Hannah Wallis
Anger comes out of one isolated experience, but rage is this sensitive point that if it gets pushed, you have a disproportionate response because you are not responding to one small thing. It’s an accumulation of all the anger you have ever held.
Pilar Monsell, The Periphery of the Imagination, 2023
Bob Dickinson considers the role of artists in the hinterland between rural and urban worlds
The centre–periphery dichotomy still echoes today, and it especially haunts contemporary cultural politics in its continuing relevance to former colonial countries in the global south.
Robert Zhao Renhui, For A Guide to the Secondary Forest of Singapore, 2024
As we enter the Pyrocene Age, Maja and Reuben Fowkes ask what political lessons can trees teach us and how do artists act as emissaries of arboreal ministry
Artists are among the few voices ready to point out the gaping holes in the depoliticising projects of green transition, net zero and carbon trading, and to revitalise radical eco-visions of ‘other futures’.
Ebun Sodipo , ‘I Found Venus and She Was Transexual’, 2022
Tendai Mutambu
The meme takes centre stage in Sodipo’s work, a form that careens through timelines and phone chats, accruing and losing meaning, multiplying at high velocity before its eventual obsolescence.
The idea that artists should keep their politics out of their art sprang from the fact that traditionally artists worked for the church or state, but an insistence on such a distinction today is long outdated. Instead, the question has become: if not now, when?
Walter Benjamin’s call for resistance, like Benjamin himself, was overwhelmed by events that no one could have foreseen. We have no such excuse.
The government review of ACE has published its terms of reference and is seeking comment on ACE’s activities; major public galleries in London and New York cut staff; the policy of universal free admission to museums is in the spotlight again; the arts sector is one of the worst offenders for paying below the Living Wage; Welsh arts and culture receives a much-needed funding boost; plus the latest on galleries, people, awards and more.
Mel Bochner 1940–2025
Liam Gillick
Mark Pawson 1964–2025
Bridget Penney and Paul Holman
Andrew Testa, Allercombe tree village, on the route of the proposed A30 Honiton Bypass, Devon, December, 1996, ‘Resistance’, Turner Contemporary, Margate
Turner Contemporary, Margate
Martin Herbert
Tate Modern, London
Daniel Culpan
The Warburg Institute, London
Peter Suchin
Kunsthalle Wien
Juliet Jacques
Peer, London
Amrita Dhallu
Pioneer Works, New York
Ravi Ghosh
FACT, Liverpool
Sarah E James
TJ Clark, Those Passions
Adam Heardman
For TJ Clark, creativity with a social conscience (or even consciousness) must exist in a hybrid state between the visionary and the achievable, the imagined and the material. A root-and-branch approach, but with a view of the sky.
Steven Eastwood and the Neurocultures Collective, The Stimming Pool, 2024
Maria Walsh
After a day’s work in a busy office where their masking of autistic traits takes its toll, they arrive home and cavort on the floor and across the kitchen furniture with a mix of exhaustion and release, comedy and intensity, watched over by a border collie.
Shu Lea Cheang and Dondon Hounwn, Hagay Dreaming, 2025,
Cherry Smyth
In one of the most poignant moments, the hunter plays on the beams as if weaving on a bow loom and chants to the other dancers who answer her urgent call.
Tarek Atoui, At-Tāriq, 2025
Chris Hayes
Speakers are embedded within domestic objects, their echoes diffused through fabric and wood. Sounds emerge from unexpected places, filling the space with layered, shifting tones.
PoMo’s reading room, Trondheim
Henry Broome
Images of Edvard Munch’s The Scream have the same name recognition as Vincent van Gogh’s Sunflowers or Claude Monet’s Water Lilies – it is also one of the few artworks to be turned into an emoji.
San Telmo museum, San Sebastian
Duncan Wheeler
The Guggenheim franchise is now seen as the cause of gentrification and rising property prices. Nor does it help matters that the museum has been unable to fulfil its initial impression to local stakeholders and politicians of reclaiming Pablo Picasso’s Guernica, 1937, for the Basque Country.
Pallavi Paul, How Love Moves, 2023
Chris McCormack
It is the serious scope of the Biennial that forces a response to not only meet its invitation to explore the depth of the work on show, but to also consider the limitations still present across the UAE.
William Kentridge, Second-hand Reading, 2013, estimate £15,000–20,000, sold for £158,750
Colin Gleadell
One must look back to the financial crash of 2009 for a lower total for London’s winter sales. But this was not a crash: the total was pretty much as estimated.
Richard Prince, (Untitled, Dylan), 2014
Henry Lydiate
Some artists consciously appropriate an entire work of another artist into their own creation. Such borrowings are designed to be self-evident (even though there may be changes of scale or medium or colour, as with Richard Prince’s three Bob Dylan canvases) and are intended to engage the spectator in intellectual consideration of the original work in its new context.
