Interviewed by Lisa Le Feuvre
Bob Dickinson
Giulia Smith
Virginia Whiles
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Emilia Kabakov interviewed by Lisa Le Feuvre
The Russian-born New York-based artists Ilya & Emilia Kabakov have worked together for nearly 30 years. Here Emilia discusses the failure of utopianism, the importance of memory, and installation as an expanded form of painting.
Installation is a new genre. We have thousands of years of experience with painting, and know exactly how to look at it.
Bob Dickinson on art, life and the algorithm
As algorithms threaten to take over our lives, it is worth comparing the cautionary approach taken by contemporary artists like Heather Dewey-Hagborg with that of pioneers, like Manfred Mohr and self-styled mystic and algorist Roman Verostko, who moved with the 'rithm in the 1960s.
Heather Dewey-Hagborg created a series of life-size 3D-printed colour photographs representing what the people who deposited the detritus might have looked like. The work was intended to point out the dangers of future biological surveillance, a prediction that came true in 2014 when a commercial version of the technology, Parabon Snapshot, was released for police use.
Giulia Smith speculates on the reasons for the upsurge in art about sickness
Judging by the work of artists such as Jenna Bliss, Lucy Beech and Patrick Staff, is the cure sometimes worse than the disease?
The implication is that the medical route out of gender dysphoria comes with its own share of toxicity. Cure and poison appear once again caught in a vicious circle.
For millennia extraordinary natural phenomena have been interpreted by self-styled visionaries and artists as portents of impending catastrophe for the human race. Today, while advances in scientific knowledge confirm the potential for environmental catastrophe, they also provide evidence of mankind's ability to work together to protect the world and to understand our place in the universe.
The result was 'one of the most powerful explosions of energy we know of in the universe', whose gravitational waves reached earth some 130 million years later, temporarily distorting space and time.
Lawrence Leaman takes issue with Hauser & Wirth's appropriationist presentation of Bronze Age artefacts at Frieze art fair.
Omer Fast's New York exhibition is occupied by Save Chinatown protesters; LA galleries suffer a boycott by Save Boyle Heights protesters; Guggenheim New York pulls artworks after protests by animal rights campaigners; artists lead a campaign against the recent rise in right-wing attacks on freedom of expression in Brazil; locals raise funds to save a work at Münster Sculpture Project; Art for Grenfell raises almost £2m; ACE launches a consultation on the future of Bristol's visual arts sector; plus the latest news on galleries, appointments, prizes and more.
Ed Allington 1951-2017
various venues, Manchester
Virginia Whiles
various venues
Jamie Sutcliffe
Gasworks, London
Colin Perry
Artangel, London
Mark Wilsher
Ikon Gallery, Birmingham
Mark Prince
various venues, Plymouth
Martin Holman
The Showroom, London
Sophie J Williamson
Estorick Collection, London
Raven Row, London
Peter Suchin
Focal Point Gallery, Southend-on-Sea
The Old Waterworks, Southend-on-Sea
Lauren Houlton
Parafin • DomoBaal • CGP London
Paul Carey-Kent
Primary • TG • New Art Exchange
Tom Emery
Martin-Gropius-Bau • KW Institute of Contemporary • Art Neue Berliner Kunstverein
Martin Herbert
Lizzie Homersham
Throughout the book, uncommon, uncomfortable focus is placed on the imbrication of art and war.
Shama Khanna
The Festival was characterised by a stealthy overthrow of the coolly academic theme – 'Ultramarine: the sea' – by a 'bloody hot takeover' by queer, female and non-white identifying artists, hailing mainly from Glasgow.
Emily Riddle
One hundred years later, Theresa May declares that the UK government is to mark the centenary of the Balfour Declaration 'with pride'. Please, prime minister, not in my name.
Kristian Vistrup Madsen
As is the case in many countries of the former Eastern Bloc, the more inventive efforts of Romania's artistic community during the 1960s and 1970s were profound yet remain unsurveyed.
Rob La Frenais
Described variously as 'artists' skunkworks' and 'cultural fracking', many of these artists deliberately subvert what have now become art-science conventions.
Henry Lydiate
Numbers of contemporary art fairs have expanded from three in 1970 to over 250 today, located in major cultural destinations far beyond their origins in Europe and the US.
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