Designing Functionality
Centre Pompidou launches a retrospective of the still influential French designer whose craft, power and pragmatism set his work apart.
Centre Pompidou launches a retrospective of the still influential French designer whose craft, power and pragmatism set his work apart.
For Alicia Savage, self-portraiture is a means to explore her past and present, including the literal and metaphorical journeys that she takes.
A major exhibition opens at Tate Modern, creating a conversation between the dangers of domesticity and the depths of identity today.
The Museum of Modern Art, New York, explores ideas of community as an intrinsic part of the aesthetics of contemporary Japanese architects.
Heroes is a photographic project that started in Italy in 2013. It is about craft shops and artisans that are disappearing.
John Hansard Gallery’s final exhibition before moving from Southampton University’s Highfield Campus. brings together two distinctly separate yet intimately entwined critical thinkers.
Marlborough Fine Art in London celebrates the lesser known print works of four internationally renowned sculptors: Louise Bourgeois, Anish Kapoor, Richard Serra and Kiki Smith.
The newly opened Leila Heller Gallery in Dubai is just the sprawling kind of space that does Iranian-American artist Y. Z. Kami’s (b. 1956) exhibition White Domes justice.
Ellen Carey came of age artistically in the 80s, which was a decade in photography that saw radical innovation and a move away from merely representational and reportorial image-making.
Playtime is Ad Minoliti’s first UK exhibition and is paired with a solo exhibition of two large paintings by Dale Lewis. Both exhibitions address what it is to have a gendered or non-gendered body in the digital age.
Castlefield Gallery is showcasing Inside Out, a look at Outsider Artists and their followers. The term ‘outsider art’ was originally used to describe works created outside mainstream artistic boundaries.
Runo Lagomarsino is the son of Argentinian migrants, although by currently being based in Sweden and Brazil, he has become a sensitive litmus test of recent Mediterranean turmoil.
Curated by Vicente Todolí, Doubt at Pirelli HangarBicocca collates key pieces from Carsten Höller’s vast and impressive oeuvre. The show intends to evoke feelings of joy, illusion and doubt.
Kalliopi Lemos’ work has been dedicated to raising questions about the processes and politics that cause forced migration and the impact that ‘neo-capitalism and the irresponsibility of political powers’ have on its victims, particularly women.
Gareth Cadwallader’s work has always sought to portray an idealised representation of the world. Sailor Girl II has been longlisted in theAesthetica Art Prize and will feature in the exhibition.
Though filling only two small rooms on South London Gallery’s first floor, Paul Maheke’s I Lost Track of the Swarm has scope far exceeding its confines. A ‘self-taught feminist’ with a particular interest in the pro-black and pro-sex movements, Maheke shies away from aligning his work with academia, preferring to think of it as poetical over theoretical. It is, nonetheless, both intellectually sophisticated and affectively powerful: the kind of output that can be felt and thought about with equal effect.
Tate hosts the first major exhibition to celebrate the spirited conversation between early photography and British art. It brings together photographs and paintings including Pre-Raphaelite, Aesthetic and British impressionist works.
This year sees the inaugural edition of the Aesthetica Art Prize Future Now Symposium – a new two-day event running on Thursday 26 May and Friday 27 May at York St John University as part of the annual Aesthetica Art Prize. The Future Now Symposium focuses on talent development, and tackle’s themes in today’s current artistic climate through lectures, workshops and panel discussions from within the arts ecosystem and broader social context.
John Baldessari’s recent works, created in the past year, examine the relationship between language and image, primarily through dislocation and the juxtaposing text and pictures at Sprueth Magers.
