An enchanting matchbox on stilts, with a garden below and a tree at its centre, there is poetry, symbolism and a real emotional intelligence here at dRMM’s new Maggie’s Centre for cancer care in Oldham.
Don’t come to Alexandra Dementieva’s exhibition with the hope of being a passive spectator. As she explains, her aim is to draw the visitor in to her installations, to engage them in public performance.
The multimedia artist Esther Rolinson talks about her exhibition Gravitate at Watermans Art Centre, the allure of light and its qualities as an artistic material, the significance of collaborative work and the incessant movement of her art-making.
Willow Hai, director of the China Institute in New York, talks about its current show, Dreams of the Kings, a spectacular collection of treasures from the Han dynasty, including possibly the earliest dated jade burial suit in existence.
A haunting exhibition in which dust plays a divine agent of death.
The RA’s annual open submission exhibition presents a shifting ‘kaleidoscope’ of contemporary art – but what does it show us about art now?.
A new exhibition focusing on the Isaac Julien’s hugely significant 1989 film delves into what made this work such a landmark in African-American and queer studies, through a presentation of newly realised photographic works and rare archival material.
Jodie Carey talks about her developing practice, the impact of motherhood, her concerns with mortality and the fragility of human life, and her redefinition of the monumental.
This exhibition tells the story of the irrepressible spirit of a true artistic visionary who has been largely forgotten by art history. Tate Modern hopes to bring Fahrelnissa Zeid’s name to the lips of contemporary art-goers once more.
Drawing on Peggy Guggenheim’s 1943 exhibition of the same name, 31 Women is a thoroughly relevant and equally captivating and surprising contemporary curation, opening dialogues across time and space.
Gender inequality was one of many human rights issues that artists wrestled with at the 57th Venice Biennale, with one of the most powerful statements coming from the Irish pavilion, in the Arsenale. Here, artist and film-maker Jesse Jones has constructed a huge theatrical evocation of her own creation myth, that of the giantess.
A new show at the Whitworth Manchester combines Raqib Shaw’s paintings and sculptures with prints, textiles and objects that reveal an intense dialogue between the ages and across continents.
These drawings from the forgotten sketchbooks of the well-known feminist artist Ida Applebroog offer an intimate insight into her struggle with depression during a six-week stay at Mercy Hospital in 1969.
Running parallel to Münster’s Skulptur Projekte, notions of private and public are unsettled in this playful post-minimal exhibition of new works by American artist Tom Burr.
For the 57th Venice Biennale, Greek artist George Drivas offers his customary blend of architecture and film in a narrative video installation that explores the resonances between an ancient story by Aeschylus, involving a group of women seeking asylum, and a 20th-century scientific experiment.
The fair is a theatrical display of extravagance, peppered with instantly recognisable works by big names, which it is a joy to stumble across. But there are also rarer treasures, from a previously unseen Andy Warhol sketch to a recently rediscovered set of dinner plates designed by Duncan Grant and Vanessa Bell.
With an uncompromising certainty of vision, Alice Neel paints individuals, capturing not only their physical likeness and inner character, but also the zeitgeist.
With artificial environments, app-led innovations and a preponderance of site-specific video art, the fifth edition of this 10-yearly project broadens out ideas of public sculpture as never before.
In her latest film, Cork-based artist Ailbhe Ní Bhriain uses the perpetual ebb and flow of water and clouds to dissolve the physical integrity of highly constructed cultural institutions.
The V&A presents an exhibition exploring the abstract and architectural shapes of Cristóbal Balenciaga’s work in the 1950s and 60s, drawing out connections between his legacy and contemporary fashion designers.
A portrait of a nation, of an era, and, at heart, of humanity, this dual exhibition of two key artists of the Weimar Republic – photographer August Sander and painter Otto Dix – gives a comprehensive overview of the sociopolitical climate and the people living through it.
The Russian photographer Evgenia Arbugaeva spins gold from the light of desolate places, finding beauty in some unlikely environments.
In No More Disguise, Afruz Amighi’s first show of drawings, the New York-based artist discusses the creative impulse she experienced following the 2016 US election, and the role of American history in her most personal work to date.
Returned to its traditional home in central Germany, Documenta 14 abounds with intelligent, well-curated art by an often obscure array of international practitioners. But does it live up to its valiant political aims?.
Radiating the heat and light of India, and expressing the artist’s love for the South Asian country, this vibrant exhibition brings Hodgkin’s “somewhere else” to the north of England.
Henri Scars Struck, the French music composer known for his meditative sonic experiences, discusses his soundscape for the Crow Collection of Asian Art in Dallas, which charts the journey of a soul.
Is serendipity entirely human – or human-driven – or can researchers into artificial intelligence design it into computer programmes? Leading “serendiptologists” joined Jasia Reichardt, curator of the ICA’s iconic 1968 Cybernetic Serendipity exhibition
, to debate the issue.
American photographer Gregory Crewdson talks about loneliness and connection in his work and, in particular, about Cathedral of the Pines, his current exhibition at the Photographers’ Gallery in London that sprang from a difficult time in his life.
This is the first posthumous exhibition of Richard Smith, who died last year, and whose work straddled pop and abstract art.
This exhibition delivers everything you would expect from the colourful Grayson Perry, but it is also a reminder that he is as much a part of the establishment as he is an original thinker.