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José Parlá: ‘It challenges me to work against the grain of the status ...

For his most ambitious project to date, commissioned by the Landmarks public art programme at the Un...

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Lee Lozano: Slip, Slide, Splice

A major figure on the New York art scene of the 1960s and early 70s, Lozano is not so well known the...

Lilah Fowler: nth nature

The exhibition nth nature, a new body of work by Lilah Fowler, explores feelings of transience and d...

Jedd Novatt: ‘I feel the same tension about the next work as I did 40 ye...

In advance of an exhibition of new works, Novatt talks about his long career making geometric sculpt...

Langlands & Bell: ‘We like to be catapulted into the unknown; we like a ...

For a new show at Birmingham’s Ikon gallery, they have turned their shared gaze on to the giants o...

Lydia Ourahmane: ‘Working with this personal history is something I have...

Lydia Ourahmane talks about her exhibition at the Chisenhale Gallery, allegiance, betrayal, drawing ...

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Kettle’s Yard, Cambridge, extension

Jamie Fobert Architects’ new wing for Kettle’s Yard in Cambridge opened this month, doubling the...

Jason Brooks: ‘In a world that wants to eradicate detail by airbrushing ...

Ahead of his exhibition at Marlborough, London, Jason Brooks showed Studio International around his ...

Lumiere London 2018

Featuring works by 50 artists and digital / lighting studios and producers, this feast of light and ...

John Piper

A lopsided retrospective reveals an artist who thrived best when he was commissioned or working in c...

Latif Al Ani: ‘I was documenting for the sake of archiving. I never thou...

The Iraqi photographer considers his photographic preservation of a long-vanished Iraq, his preoccup...

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Louvre Abu Dhabi, designed by Jean Nouvel

Jean Nouvel has conceived a masterful new structure for the Louvre Abu Dhabi, at once utterly modern...

Köken Ergun: ‘In Turkey, the image of the soldier has been victimised b...

The Turkish film-maker talks about his 2005 video I, Soldier, and its relevance to the political sit...

John Stezaker: ‘I was trying to create a sort of photographic cubism’

The British artist discusses a series of 1970s collages that launched his career, and which have bee...

Jeanne Mammen: The Observer. Retrospective (1910-75)

Mammen wanted to be “a pair of eyes, walking through the world unseen, only to be able to see othe...

Louisa Fairclough: A Song Cycle for the Ruins of a Psychiatric Unit

At the Danielle Arnaud gallery in London, Louisa Fairclough’s exhibition A Song Cycle for the Ruin...

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Light in motion: Balla, Dorazio, Zappettini

The latest in Mazzoleni’s series of exhibitions devoted to 20th-century Italian art enacts a vivid...

Jean Prouvé: Architecte des Jours Meilleurs (Architect of Better Days)

The French architect Jean Prouvé was a radical modernist whose graceful prefab buildings used cutti...

Juno Calypso: ‘Male critics don’t think women are funny, they don’t ...

London-based photographer Juno Calypso talks about femininity and disappointment in a man’s world...

Kelly Richardson: The Weather Makers

The barren, dystopian landscapes of Kelly Richardson’s audiovisual installations are hypnotically ...

Julie Montgarrett: ‘I have always gravitated to the seductive character ...

Australian artist Julie Montgarrett uses her work to explore the continent’s problematic colonial ...

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Jasper Johns: ‘Something Resembling Truth’

The first comprehensive exhibition of Jasper Johns to be held in the UK in the past 40 years looks b...

Louise Bourgeois: An Unfolding Portrait

MoMA’s expertly curated exhibition of Bourgeois’ prints rescue the artist from her legend, revea...

Jenny Holzer: Softer

In her current exhibition at Blenheim Palace, Holzer responds to the building’s military history w...

Jake and Dinos Chapman: The Disasters of Everyday Life

Among the casts of suicide vests, it is the Chapman brothers’ reworked etchings of Goya that hold ...

Katriona Beales: ‘It’s not the internet that is malevolent, but the wa...

Following the opening of Are We All Addicts Now? at London’s Furtherfield, Katriona Beales, the ex...

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John Hoyland: Stain Paintings 1964–1966

This, the first New York exhibition of John Hoyland’s work in 25 years, brings together seven of h...

James Richards: Music for the gift – Wales in Venice, 2017

Wales has always punched above its weight at the Biennale, and 2017 is no exception. This year – f...

Lucas Arruda: ‘The only reason to call my works landscapes is cultural’

On the occasion of his first London exhibition, at David Zwirner, Lucas Arruda discusses his almost ...

José Pedro Croft: Uncertain Measure – Venice Biennale 2017

For his Portugal Venice Biennale commission, artist José Pedro Croft has made a series of six glass...



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