Interviewed by Sophia Phoca
Morgan Quaintance
Maria Walsh
Bob Dickinson
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Malcolm Le Grice interviewed by Sophia Phoca
The British artist and experimental filmmaker who co-founded the London Film-makers' Co-op discusses feminism, collaboration, improvisation and time.
It is about the orchestration of colour, time and dramaturgy, but I was against narrative. There is a temporal structure that is nearer to music.
Morgan Quaintance reflects on cults and collectivism
The post-Brexit attack on perceived elitist individualism in the arts misunderstands the nature of both art and activism. So how does the work of artists such as Manon de Boer, Anna Bunting-Branch and Maria Eichhorn reveal the radical potential of self-reflection while avoiding the dangers of a slide to the far right?
A distorted view of collectivism has laid fertile ground for the growth in prominence of what British sociologist Colin Campbell calls the cultic milieu, a 'cultural underground of society' that is composed of and conducive to the creation of cults.
The rise of nationalism and the mob-rule mentality associated with it must be challenged, yet collective action is more effective when combined with creative direction – so is this where artists come in?
Instead of confronting the neo-Nazi marchers, the citizens welcomed them with open arms, urging them on with cheers, banners and confetti because, for every metre they marched, local businesses and residents had pledged to donate the equivalent of £10 to EXIT-Germany, a non-profit deradicalisation organisation.
An exhibition in Kiev is laid waste by a mob of nationalist thugs; nationalist protesters threaten Dresden's mayor over support for art that is sympathetic to refugees; a gallery in Jerusalem is closed by the municipality for hosting a veteran's group discussing transgressions in the occupied Palestinian territories; the impeached South Korean president is sued by blacklisted artists; galleries rework their displays to protest against President Trump's travel ban; visits to UK museums drop; the University of Kent plans to close its Fine Art course; plus the latest news on galleries, appointments, prizes and more.
Martin Holman
Nottingham Contemporary
Maria Walsh
Modern Art Oxford / Spike Island, Bristol
Jennifer Thatcher
Cooper Gallery, Dundee
Adam Benmakhlouf
Mary Mary, Glasgow
Catherine Spencer
Phoenix, Exeter
Lizzie Lloyd
Richard Saltoun Gallery, London
Mark Prince
various venues, London
Chris Fite-Wassilak
Chisenhale • Gasworks • Jerwood Space
Laura Allsop
Eastside Projects • Grand Union • Centrala
Tom Emery
Konrad Fischer Galerie • NRW-Forum • Museum Ludwig • Galerie Karsten Greve
Paul Carey-Kent
Bob Dickinson
'It's like a gathering or reunion in a beautiful city, in our city, where artists can experiment.'
David Dibosa
Western art history is one of the key critical contexts to which Sophie Orlando's book seeks to return the work produced by British black artists in the postwar period.
Jamie Sutcliffe
How could the unseen physical and cultural processes of nuclear fission be made legible, comprehensible and debatable in a popular sense? Furthermore, what role might artists play in such a project?
Colin Perry
Almost inevitably, this energy is being harnessed by the city's neoliberal administration for urban regeneration. The working-class La Boca neighbourhood, a portside area most famous for the football stadium where Diego Maradona played, is being touted as the city's future cultural quarter.
Virginia Whiles
The art observed on my recent journey throughout India reflects the polarisation of a country split economically and politically. Play between absolute and relative truths informs the resistance of Indian artists to the rising 'corporatocracy' of the populist 'Modi-fied' regime.
Skye Arundhati Thomas
Critical discourse is perhaps what is lacking most in the metropolitan cities of India, particularly in the arts. The question of how to generate critical discourse within the city is thus an interesting one, and one perhaps at the root of several independent art spaces that exist as a result.
Ashiya Eastwood
If we understand Mark's depression and resulting death to be political, we must challenge the system within which we exist.
Henry Lydiate
Pei-Shen Quian sold each of his fakes for a few thousand dollars to Glafira Rosales, who resold them for millions of dollars each to the Knoedler gallery, which in turn resold them to clients for a reported total amount of $70m.
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