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House Work

The house and its potential as a home, a prison, a marker in one’s life, is fertile territory and an inspired idea for an exhibition but, in this case, one lacking in impact

Black Audio Film Collective (BAFC)/John Akomfrah. Handsworth Songs, 1986. © Smoking Dog Films. Courtesy of Lisson Gallery.
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.
Yuko Mohri talking to Studio International before the opening of her exhibition Moré Moré [Leaky] at White Rainbow gallery, London, February 2017. Photograph: Martin Kennedy.
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.
Thomas Hirschhorn. Gramsci Monument, 2013. Round Table Discussion about John Ahearn's Bronx Bronzes Issue. Forest Houses, Bronx, New York. Courtesy Dia Art Foundation. Photograph: Romain Lopez.
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.
John Piper. Beach and Star Fish, Seven Sister's Cliff, Eastbourne, 1933-34. Gouache, pen and ink with collage of paper and fabric, 38.4 x 49.8 cm. Jerwood Collection. © The Piper Estate / DACS 2016. Image courtesy of Jerwood Gallery.
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.
Richard Wilson. Block of Dering, 2017. Wood, 353 x 250 x 268 cm. Photograph: Miayko Narita. © Richard Wilson. Courtesy Annely Juda Fine Art.
‘I’m just making the unknown real,’ says Wilson, about his new exhibition, Stealing Space at Annely Juda Fine Art in London.
Mai-Thu Perret. Zone. Installation view, Simon Lee Gallery, London, 2017.
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.
David Brian Smith on a friend's farm in Shropshire, 2012. Photograph: Daniel Graves.
The painter’s pop-coloured vision of the English countryside belies a sad truth, but as Smith demonstrates, bitterness can be channelled into something meaningful.
Hellen van Meene. Untitled (79), 2000. Chromogenic Print, 41 x 41 cm. National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection, Washington, DC. © Hellen van Meene and Yancey Richardson Gallery. Photograph: Lee Stalsworth.
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.
Studio International Special Centenary Number, Vol 201 No 1022/1023, page 12. Charles Francis Annesley Voysey (1857-1941), Tulips, c1888 (detail). Design for printed velveteen, 80 x 40 cm. © Studio International.
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.
Harry Shunk and János Kender, photograph of Yves Klein, The Dream of Fire, c1961. Artistic action by Yves Klein © Yves Klein, ADAGP, Paris / DACS, London, 2017. Collaboration Harry Shunk and János Kender. Photograph: Shunk-Kender © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2014.R.20)
The alchemical French artist’s first UK retrospective in two decades reaffirms the cosmic wonder of his oeuvre.
David Hockney. Peter Getting Out of Nick's Pool, 1966. Acrylic paint on canvas, 152 x 152 cm. National Museums Liverpool, Walker Art Gallery. Presented by Sir John Moores 1968. © David Hockney. Photograph: Richard Schmidt.
Celebrating 60 years of Hockney’s work, this exhibition charts the art of a modern great through decades of change.
Vera Möller. Prototopia, 2007. Mixed media, 66 x 68 x 68 cm.
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.
Aleksandr Rodchenko. Pioneer with a Bugle, 1930. Gelatin silver print. 9 1/4 x 7 1/16 in (23.5 x 18 cm). The Museum of Modern Art, New York. Gift of the Rodchenko Family.
This exhibition of Russian art from the 1920s and 30s, based on MoMA’s own collection, is a heartening celebration of a period of remarkable creativity and development.
Laura Oldfield Ford. Savage Messiah, Leyton issue, 2006.
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.
John Baldessari. Miró and Life in General: Reliable, 2016. Varnished inkjet print on canvas with acrylic paint, 95 11/16 x 49 in.  No. 19348. © John Baldessari, courtesy of the artist and Marian Goodman Gallery. Photograph: Joshua White.
As he continues his late-career conversation with art history, the archetypical Californian conceptualist’s seemingly simple works open up a mire of ambiguity.
Jamie Crewe. Adulteress 2017. Video, excerpt of chapter 16 of Monsieur Venus: a Materialist Novel by Rachilde (1884), 22 min. Commissioned by Gasworks, courtesy the artist.
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.
One and Other, installation view, Zabludowicz Collection, London, 2016. Photograph: Tim Bowditch.
The Zabludowicz Collection sets the stage for a shrewd reflection on the real versus the created self in the modern age.
Ed Webb-Ingall. We Have Rather Been Invaded, 2016. Video still.
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.
Wendy Elia. Maxime, 2010. Oil on canvas, 166 x 91 cm. Courtesy East Contemporary Art Collection, University of Sussex. Photograph: Mac Campeanu
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.
Pierre Bonnard. Les chapeaux rouges (The red hats), 1894. Oil on canvas, 28 x 33 cm. Private collection. © Adagp, Paris 2016. © Claude Almodovar.
This is an exhibition focusing on intimacy, which conjures just that in its thorough, yet tender, exploration of the people, objects and places close to the artist’s heart.
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