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Eloise Hawser: ‘This machine is all about contact and resistance’

The artist explains the complex mechanisms of a cinema organ ...

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Hannah Collins: ‘Most of my work is a line between culture and the world...

The British artist known for her large, unframed photog...

Alinka Echeverria: ‘As soon as you lift up the camera, you make the othe...

The photographer talks about her work looking at politi...

Emma Cousin: ‘Humour is the most important thing’

Studio International visited Transition Gallery in east London to speak to Co...

Nathan Cash Davidson: ‘I’m two different artists in the same person’

The artist discusses his current exhibition at the Hanna...

Helen Sear: ‘It’s almost like the landscape is imprinted on the figure...

In her exploration of mortality and temporality, the ar...

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Jeanne Masoero: ‘My work is about trying to find structures, a kind of c...

The artist explains how her interest in the Mayan civil...

Susan Cianciolo: ‘Everything I make is so sacred and it’s all about th...

The artist talks about the Fluxus boxes in her latest e...

Sergio Camargo: Mármore

Sergio Camargo (1930-90) was a prominent artist in Rio de Janeiro, where he was born, and gained internati...

Mark Fairnington: ‘The work I do with scientists echoes their speculatio...

The artist talks about his work researching natural his...

Herman de Vries: ‘My guru is a squirrel’

The artist, whose work spreads far beyond the confines of the Rietveld pavilion, expla...

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Sheikha Lateefa bint Maktoum: ‘I am a veiled woman, so it’s a natural ...

The founder of Tashkeel, Dubai’s first public studio ...

Sophia Narrett: ‘I see the sewing process as akin to drawing’

The artist talks about the process of making her embroideries, wh...

Patricia Cronin: 'A silent protest can be quite powerful'

The artist talks about Shrine for Girls, her installation at the Venice B...

Geoffrey Eastop: ‘The character of the mark describes the object’

Geoffrey Eastop – his creative legacy. Studio international...

Eileen Cooper: ‘Artists are real sponges. We take things and absorb them...

The artist talks about having a retrospective at the Ro...

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Lynette Yiadom-Boakye: ‘Maybe I’m not as interested in people as I tho...

The artist, whose latest exhibition, Verses After Dusk,...

Chloe Dewe Mathews: ‘I wanted to bring the viewer in, so they become par...

Chloe Dewe Mathews’s Tate commission, Congregation, l...

Sarah Lucas: I Scream Daddio

Sarah Lucas came to prominence in the 90s with the generation of Young British Artists, but it has tak...

Cecily Brown: ‘In a way you can see things more clearly when they’re s...

The artist talks about her latest exhibition, The Engli...

On My Way

As a parallel event to the Venice Biennale, a group of artists from Russia present an exhibition that juxtaposes works ma...

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Rachel Maclean: ‘I’m taking and contributing to the weird recycled eco...

The artist talks about taking her inspiration from YouT...

Jake Chapman: ‘Show me a Hitler and I’ll draw on it’

Having unveiled the sinister Sturm und Drang at Ekebergparken Sculpture ...

Rafaël Rozendaal: ‘I see the same intensification of reality in Mondria...

The artist, who now has hundreds of websites to his nam...

BGL: ‘In our installation, people play with money, and we like this game...

Canadian art collective BGL makes art that is playful a...

Graham Fagen: ‘Come into the garden and forget about the war’

Glasgow-based artist Graham Fagen, who is representing Scotland f...

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Catlin Art Prize 2015

Eight of the UK’s most promising arts graduates are picked each year to show at the Catlin Art Prize ex...

Brown & Son: Art That Makes Itself

Father and son Paul and Daniel Brown work together as Brown & Son, ‘Purveyors of digital image...

Klaus Staudt: interview

A leading practitioner of concrete-constructivist art for some 50 years, Klaus Staudt was also part of the ...

Michal Rovner: ‘I don’t want to tell a story, I’m looking for someth...

The Israeli artist discusses the work in her current ex...



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