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Maclean is representing Scotland at the Venice Biennale with her new film, a dark fairytale titled Spite Your Face. She talked to us before the biennale about the film, nationalism, fairytales, and how narratives can be so powerful that audiences prefer the fiction to fact
Zoë Paul, The Perma Perla Kraal Emporium, 2017, installation view at The Breeder, Athens. Courtesy The Breeder, Athens.
‘We need to have a connection to the place we live in. It’s an extension of ourselves and it’s also a form of communication,’ says Paul, who invites people to join her at The Breeder gallery in Athens to roll clay beads and have a cup of sage tea.
Frieze New York 2017. Photograph: DJS.
The fair’s extensive list of programmes and projects, including a symposium on Latin American art, performances and films, celebrated diversity by including domesticated ‘others’, but failed to deal with the reality of the world outside the tent.
Anthony McCall. Line Describing a Cone, 1973. Courtesy Julia Stoschek Foundation e. V. and Sprüth Magers. Installation view at KW Institute for Contemporary Art, 2017. Photograph: Frank Sperling.
The biggest week of the year for Berlin’s contemporary art scene saw the opening of dozens of exhibitions. Here are some highlights and impressions.
Audrey Walker. Joan Eardley at easel, looking downwards and holding paintbrushes. Photograph: John McKenzie. © Jane Walker.
During her tragically short career, the painter concentrated on two contrasting areas of Scotland, which form the focus of this exhibition.
Despite its scale and contemporary concrete exterior, Lascaux IV is sympathetic to its context. Photograph: Veronica Simpson
With Lascaux IV, which contains a state-of-the-art simulation that brings to life the famous Lascaux cave and its Palaeolithic paintings, Norwegian architects Snøhetta and UK design partner Casson Mann have created an uplifting and educational temple to a vanished civilization.
Eddie Martinez talking to Studio International at the opening of Cowboy Town at Timothy Taylor Gallery, London, April 2017. Photograph: Martin Kennedy.
The artist talks about his latest show, Cowboy Town, at Timothy Taylor Gallery in London, the influence of US politics on artists, and why he looks at his work on his phone all night.
Lygia Pape. Pintura (Painting), 1953. Oil on canvas. Photograph: Paula Pape. © Projeto Lygia Pape.
The exhibition gives an insight into the development of modernism in Brazil, a country to which it was an extraneous mode of aesthetic language, developed under the influence of a somewhat slowly spreading wave of international modernism.
Secundino Hernández. Untitled, 2017. Acrylic, rabbit skin glue, chalk, calcium carbonate and titanium white on linen, 311 x 261 x 4 cm (122 1/2 x 102 3/4 x 1 5/8 in). Courtesy the Artist and Victoria Miro, London. © Secundino Hernández.
The artist talks about his academic origins, the delicate equilibrium he seeks between accident and control, the quintessentially Spanish spirit of his painting, and his current exhibition, Paso, at Victoria Miro, London.
David Hepher. Arrangement in Greys and Silvers, 1995. Concrete, acrylic, oil and spray paint on canvas, 214 x 270 cm (84 ¼ x 106 ¼ in). © David Hepher, Courtesy of Flowers Gallery
Unusually for a landscape artist, Hepher has for 40 years focused almost exclusively on the tower blocks of south London. In this retrospective, his large-scale triptychs evoke an almost elegiac sense of time and place.
Alexey Titarenko. From the series Nomenclature of Signs (Kino), 1986-1991. Unique gelatin silver photomontage, 13 ½ x 13 ½ in (34.3 x 34 cm).
An exhibition at the Naiya Alexander Gallery in New York brings together Titarenko’s photographs from four cities taken over 30 years. Here, he talks about how life in the Soviet Union shaped his work, being jailed by the KGB, and how he found happiness in New York.
NS Harsha, portrait.
The Indian artist explains some of the works on show at this retrospective, and why, despite once working for a technology company, he prefers to stick to painting.
Cornelia Parker. News at Seven (Chilling), 2017. News headlines drawn by 7-year-olds, blackboard, 116.5 x 156.5 x 6 cm (framed). Courtesy of Frith Street Gallery.
The new works of the often-brilliant Cornelia Parker act as a cautionary tale for artists who rush too hastily into the political.
Peter Dreher. Tag um Tag guter Tag (Day by Day good Day) Nr. 1176 (Day), 1997.
The German artist recounts the trauma of childhood under the Nazi regime, his autonomy from the social ferment of the 60s, and confronting all the problems of art history through the sustained depiction of a single ordinary object.
James Bridle. Untitled (Autonomous Trap 001), 2017. Ditone archival pigment print 150 x 200 cm. Edition of 3.
The artist talks about his current show at the Nome Gallery, Berlin, which centres around the self-driving car, technological agency and the relationship of humans to machines, and what we can learn from them.
Art Brussels, 21–23 April 2017, Tour and Taxis. Photograph: David Plas.
This 35th annual incarnation of Art Brussels was taglined ‘From Discovery to Rediscovery’. Here is a roundup of some of the rising talent that you may have missed.
John Latham. Painting with Tennis Ball Marks, 1970. Installation view, Serpentine Gallery, London (1 March 2017 – 21 May 2017). Photograph © Luke Hayes.
Two concurrent exhibitions present a selective view of the career of renowned conceptualist John Latham along with work by four contemporary artists that reveals his profound influence today.
Ruth Maclennan. Call of North, 2013-15. HD video, with sound, 22'. Language: Russian with English subtitles.
The visual artist talks about what art can do in the face of climate change, her films of Arctic Russia and her latest film, shot in Scotland, From Time to Time at Sea.
Enrique Martínez Celaya.
The artist talks about his latest show, The Gypsy Camp, and his interest in nomadism and displacement, including his own experience of moving as a child from Cuba to Spain and then to the US, and explains his process of working with images from memory.
Ipek Duben talking to Studio International at the opening of her exhibition, THEY/ONLAR, Fabrica, Brighton, 7 April 2017. Photograph: Martin Kennedy.
The Turkish artist discusses her work THEY/ONLAR, a multiscreen video installation previously seen at SALT, Istanbul, and now showing for the first time in the UK.
John Constable. A windmill near Brighton, 1824. Oil on canvas. Lent by Tate: Bequeathed by George Salting, 1910.
A pivotal period of John Constable’s life was spent in Brighton, where he would repeat three favourite walks, making sequential sketches, often intended as visual notes for larger paintings, but many quite exquisite as works in their own right.
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