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Sharjah March Meeting 2024: Tawashjuat
Sharjah Biennial 16 co-curator and independent curator Zeynep Öz moderating the panel, titled Towards Counter-Hegemonic Infrastructures, with Yazan Khalili, Lara Khaldi (The Question of Funding); Joachim Hamou, Nabila Saidi (Trampoline House); Leah Gordon (Ghetto Biennale) at March Meeting. Sharjah Art Foundation, 2024. Photo: Motaz Mawid.
This year’s edition of the Sharjah Art Foundation’s March meeting focused on collectives, collaboration and social justice, a theme that had particular poignance in light of the war in Gaza
Martin Boyce. Photo courtesy Fruitmarket, Edinburgh.
Boyce’s show at Fruitmarket, Edinburgh, offers three distinctive, in-between spaces for exploring the work’s ambiguities, somewhere between sculpture and infrastructure, exterior and interior architecture. He talks us through it  .
Exhibition view, Hanna Bekker vom Rath. A Rebel for Modern Art, Brücke-Museum, 2024. Photo: Alina Schmuch.
This richly documented show does justice to the feisty Bekker vom Rath, a German art collector, dealer and painter, who championed modern and contemporary art, even disobeying the dictates of the Nazi regime by organising secret exhibitions at her home.
Harold Cohen with SGI System, photographed at Boston Computer Museum, 1995. Photographer Hank Morgan, image courtesy Gazelli Art House.
On the occasion of a show of Cohen’s work at Gazelli Art House in London, we consider the pioneering British artist’s transition from paint to code.
Issam Kourbaj: Urgent Archive, installation view, Kettle’s Yard, Cambridge, 2 March – 26 May 2024.
Through his sensitive and thoughtful works, Kourbaj ensures the plight of those in his native Syria cannot be forgotten.
William Blake, Thus wept the Angel voice from America a Prophecy, 1793-1821 (detail). Relief-etching, printed in colour, with hand colouring and heightened with gold, 30.4 x 23.1. cm. The Fitzwilliam Museum, Cambridge. © The Fitzwilliam Museum, Cambridge.
The English eccentric meets his German peers in a treasure-strewn exhibition that makes Blake seem stranger than ever.
Helmut Newton. Patti Hansen in Yves Saint Laurent, Promenade des Anglais, Nice 1976. © Helmut Newton Foundation, courtesy Condé Nast.
Highlights from the golden age of photography, produced for fashion magazines Vogue and Vanity Fair, lead us on a stunning journey through fashion and social change from 1910 to the late 1970s.
Thea Djordjadze, framing yours making mine, installation view, Sprüth Magers, London, 23 February – 28 March 2024. © Thea Djordjadze / VG Bild-Kunst, Bonn 2024. Photo: Ben Westoby.
In this comprehensive show, the Georgian artist’s spare sculptural works emanate a sense of disconnection, disruption and dislocation.
Soulscapes, installation view, Dulwich Picture Gallery, London, 14 February – 2 June 2024. Image courtesy Dulwich Picture Gallery.
Hurvin Anderson, Michael Armitage, Alberta Whittle and other artists from the African diaspora consider how identity and collective history impact individuals’ relationships with the environment.
Gillian Lowndes. Hanging scroll, 1995. 145 x 27 cm. Collection of Ben Auld. Photo: Jo Hounsome Photography.
A post-apocalyptic landscape or an abandoned toolshed? This compact exhibition, by ceramics sculptor Gillian Lowndes, inspires the mind to wander.
Sargent and Fashion, installation view with Miss Elsie Palmer, 1889-90 and House of Worth dresses at Tate Britain 2024. Photo © Tate (Jai Monaghan).
This show looks at how Sargent styled his sitters, insisting they wore certain garments or rearranging them, using fashion as a tool to reveal their personalities.
Francis Picabia: Women: Works on Paper 1902-1950, installation view, Michael Werner Gallery, London. © The Estate of Francis Picabia. Courtesy Michael Werner Gallery, New York and London.
A career-spanning exhibition of drawings and watercolours shows the elusive modernist at his most direct.
Hew Locke, Armada, 2017-19. Installation view, Here’s the Thing exhibition, Ikon Gallery, Birmingham, 2019.  Courtesy the artist and Ikon Gallery. Photo: Stuart Whipps.
The Royal Academy, founded at the height of the British empire, brings together more than 100 historical and contemporary works – from JMW Turner to Yinka Shonibare – in an attempt to redress its colonialist past.
Barbara Kruger: Thinking of You. I Mean Me. I Mean You. Installation view, 1 February – 17 March 2024, Serpentine South. Photo: George Darrell.
As poetic as it is urgent, Barbara Kruger’s text-based work packs a weighty punch. Her methods of direct address implicate the viewer, leaving no space for complacency.
Moon / King: the work and friendship of Phillip King and Jeremy Moon - 1956 to 1973. Installation view, Thomas Dane Gallery, 2024. © Estate of Jeremy Moon. © The Estate of Phillip King. Courtesy the estates, Luhring Augustine, New York and Thomas Dane Gallery. Photo: Ben Westoby.
The pair met as students at Cambridge and remained friends until Moon’s death at the age of 39. This vibrant and colourful exhibition makes clear the influence they had on one another’s work.
Only the Young: Experimental Art in Korea, 1960s–1970s, installation view, Hammer Museum, Los Angeles, 11 February – 12 May 2024. Photo: Joshua White / JWPictures.com.
A flurry of museum and gallery exhibitions flags a surge of interest in Korean art. The most compelling is the Hammer Museum’s Only the Young.
Harold Cohen, AARON KCAT, 2001. Screenshot. Artificial intelligence software. Dimensions variable. Whitney Museum of American Art, New
York; purchase, with funds from the Digital Art Committee 2023.20. © Harold Cohen Trust.
Through paintings, works on paper and projections, this exhibition traces the evolution of AARON, the earliest artificial intelligence (AI) program for creating art, conceived by the pioneering British painter Harold Cohen.
Gayle Chong Kwan talking to Studio International about her exhibition A Pocket Full of Sand at the John Hansard Gallery, Southampton, 2024. Photo: Martin Kennedy.
The artist talks about using sand and sugar to make historic and contemporary connections between Mauritius and the Isle of Wight and between colonial power, indentured labour, leisure and childhood.
Yoko Ono, Add Colour (Refugee Boat), concept 1960, installation view, Yoko Ono: Music of the Mind, Tate Modern, London, 2024. Photo: © Tate/Reece Straw.
Spanning seven decades of the artist’s groundbreaking work, from the 1950s to now, some done with John Lennon, the takeaway message is the hope that perhaps world peace really is possible.
Leo Robinson. Photo: © GAS Foundation.
Robinson, whose exhibition Dream-Bridge-Omniglyph is now at the London Mithraeum, considers his reimagining of arcane lost worlds, Jungian dream theory and the potential curse incited by layers of ancient mythologies being incorporated into a contemporary temple of finance.
Outi Pieski. Photo: Heikki Tuuli.
Small carved figures, knotted fringes and historic hats represent Pieski’s Sámi heritage as do her luminous painted landscapes and they work powerfully in her show at Tate St Ives to highlight systemic injustices to land and people.
These Mad Hybrids: John Hoyland and Contemporary Sculpture, installation view, Royal West of England Academy, Bristol, 2024. Photo: Tim Bowditch.
In this joyous and eccentric show, Hoyland’s jaunty ceramic sculptures are shown alongside equally playful sculptures from contemporary artists including Hew Locke and Phyllida Barlow.
Unravel: The Power and Politics of Textiles in Art, installation view, Barbican Art Gallery. © Jo Underhill / Barbican Art Gallery.
The 50 artists in this formidable show have all used textiles to tell powerful stories of resistance to social, political and ecological ills.
Ronald Davis. Courtesy Ronald Davis.
Davis talks about his art and how he started out in the 1960s, his friendship with Judy Chicago, playing chess with David Hockney and having a Scotch with Clement Greenberg.
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