The 1980s were a fertile time for black British artists to interrogate their experience of racial division, economic inequality and civil unrest, and The Place is Here resonates powerfully with today’s cultural and political zeitgeist.
The Japanese artist Yuko Mohri’s exhibition at White Rainbow is titled Moré Moré [Leaky], and follows recent exhibitions in Taiwan, Japan and the US. Winner of the 2015 Grand Prix Nissan Art Award, Mohri undertook two residencies in London in 2016, the first at the Victoria and Albert Museum and the second at Camden Arts Centre.
The artist talks about his commitment to art in public spaces, describes how the Gramsci Monument in New York evolved with the help of local people, and explains his belief in the ‘unshared authorship’ of art.
Unravelling some of the interwoven and incestuous tales relating to the 20th-century modernist protagonists in their rural Sussex settings, this exhibition is as compelling narratively as it is aesthetically and politically.
The multi-disciplinary artist talks about her continuing fictional narrative The Crystal Frontier, her obsession with an all-female Kurdish militia fighting in Syria, and early-20th-century feminist fiction.
Building on the legacy of feminist art from the 1970s, this exhibition includes photographic and video works by 17 contemporary artists from five continents, from the 80s to today, presenting woman as creator and subject of her work.
The originators of The Studio, from its inception, were keenly aware that the recently consummated marriage between the Fine Arts and the Crafts would be central to their own outlook. The formal rites and tussles of that marriage had much occupied and challenged the world of Art for the past decade both in England and America, and would continue to repercuss for many years to come.
The German-born artist explains why she first studied biology rather than art, how her scientific background informs her work, her love of the Great Barrier Reef, and why she is moving away from painting painstaking details of imaginary species.
Oldfield Ford spends a lot of time walking through the capital’s streets and, from the fanzine she began in 2005 to her current exhibition, Alpha/Isis/Eden, her work is all about change, the rich pushing out the poor. The artist’s job, she says, is to make places uninhabitable for property developers.
Seeking ancestry in a controversial and pornographic 19th-century French novel, this queer, transfeminine artist questions the problematic of rehabilitating a historical work of fiction from a contemporary standpoint.
The video-maker talks about working with communities, his current work, We Have Rather Been Invaded, about section 28, which prohibited schools from promoting homosexuality – and the difference between being a parasite and a Trojan horse.
To mark the 25th anniversary of Carter’s death, this exhibition brings together works that influenced the writer and works inspired by her, creating a visceral, violent and, at times, unpalatable celebration of magic realism and fairyland pornography.
Three exhibitions of conceptual art in Germany shed some light on the elusive genre. Taryn Simon’s Dresden show is an example of a type of contemporary conceptual art that relies on craft, material and concept, while two exhibitions in Berlin revisit early pioneers Hanne Darboven, Charlotte Posenenske and Ian Wilson.
Surrounded by her neon memorials to women killed in Iran, Soleimani discusses the state-sanctioned misogyny and human rights abuses there, and how she is trying to make people in the west aware of what is going on.
For his current exhibition at Jack Shainman Gallery in New York, Titus Kaphar looks to historical portraiture, and imagery from the criminal justice system in his examination of how history is recorded.