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March 169 2015

Ill-Begotten Treasures

Lukas Duwenhögger's secret world of symbols

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March 169 2015

The Last Resort

One Take

Handcrafted futures and the automated present in Scott Reeder's Moon Dust

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March 169 2015

Liu Chuang

In Focus

by Paul Teasdale

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March 169 2015

A Knowing Look

In These Intemperate Times

The importance of being curious by Lynne Tillman

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March 169 2015

Formal Affairs

David Geers asks if recent developments in abstract painting are merely 'zombie formalism'?

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March 169 2015

Photo Finish

Social division and artistic engagement in the work of Mohamed Bourouissa

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March 169 2015

Green Shoots

China's innovative eco-conscious design practices

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March 169 2015

Fibre Is My Alphabet

Jennifer Higgie talks to Sheila Hicks about the evolution of her artistic language

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Losing Ground

Losing Ground

As Kathleen Collins’s witty and piercing drama Losing Ground (1982) begins, Sara Rogers (Seret Scott), a young philosophy professor, is concluding a class on Existentialism.…

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State of the Art

The Solace of Art

Creativity as resistance by Jennifer Higgie

In These Intemperate Times

A Knowing LookSubscriber only

The importance of being curious by Lynne Tillman

Other cities, other seas

Crackdowns and ChaosSubscriber only

Can Egypt’s NGOs survive repressive new legislation? by Kaelen Wilson-Goldie

Politics

Uncertain TimesRegistered only

Arts funding and the recent elections in Brazil by Silas Martí

Life in Design

Life in DesignRegistered only

An alternative history of graphic design by Fraser Muggeridge

Music

MusicSubscriber only

A new futurism in dance music? by Philip Sherburne

Twins

Data-Doubles of the SelfSubscriber only

Twinship in contemporary art by William Viney

Books

BooksSubscriber only

Art, auctions and storytelling meet in Valeria Luiselli’s latest novel by Natalie Ferris

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Questionnaire

Questionnaire: Sophia Al-Maria

Q: What music are you listening to? A: Things that would disgust my teenage self; I have betrayed her. by Sophia Al-Maria

Think Piece

Formal AffairsRegistered only

In recent years, abstract painting has experienced both a new popularity and a critical backlash. Can it be written off as ‘zombie formalism’ or are innovative approaches to abstraction really being developed? by David Geers

Monograph

Photo FinishRegistered only

Social division and artistic engagement in the work of Mohamed Bourouissa by Vivian Sky Rehberg

Focus

In Focus: Emma HartRegistered only

Being betrayed by the body by Colin Perry

Monograph

Ill-Begotten TreasuresSubscriber only

Wolf-whistling at fallen angels in Lukas Duwenhögger’s imagined worlds by Charlie Fox

Interview

Fibre Is My AlphabetSubscriber only

Jennifer Higgie talks to Sheila Hicks about the 60-year evolution of her artistic language by Jennifer Higgie

Focus

In Focus: Sam LewittSubscriber only

Material production and the march of history by Joseph Akel

Roundtable

Skin & SurfaceRegistered only

Dansaekhwa, or ‘Korean Monochrome Painting’, is the name ascribed to a style of painting practiced by a loosely affiliated set of Korean artists who came to prominence in the 1970s. Three recent exhibitions — at Blum & Poe, Los Angeles, Alexander Gray Associates, New York, and Kukje Gallery, Seoul — have, for the first time in a generation, brought this work to an audience outside of Korea, while a presentation of Dansaekhwa will be shown as part of the 56th Venice Biennale in May this year. We asked the curators of these exhibitions — Sam Bardaouil, Till Fellrath, Joan Kee and Yoon Jin Sup — to reflect on the key factors that led to the development of Dansaekhwa’s unique aesthetic and what its legacy is today. by Yoon Jin Sup, Joan Kee, Sam Bardaouil and Till Fellrath

Focus

In Focus: Liu ChuangRegistered only

Cold portraits and warm-hearted annotations by Paul Teasdale

One Take

The Last ResortSubscriber only

Dan Fox explores handcrafted futures and the automated present in Scott Reeder’s new sci-fi film Moon Dust by Dan Fox

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Centre Pompidou / Musée d’Orsay

Marcel Duchamp. Painting, Even / Sade. Attacking the SunRegistered only by Jörg Heiser

Ciccillo Matarazzo Pavilion, Ibirapuera Park

31st Bienal de São PauloSubscriber only by Lauren A. Wright

Şişhane Otopark

The Moving MuseumRegistered only by Jonathan P. Watts

Power Station of Art

10th Shanghai BiennaleSubscriber only by Matthew McLean

Central Academy of Fine Arts Museum

Dong XiwenSubscriber only by Carol Yinghua Lu

Iziko South African National Gallery

Penny SiopisRegistered only by Sean O’Toole

Minerva

Habitat (with World Food Books)Subscriber only by Wes Hill

1646

Zin TaylorRegistered only by Vivian Sky Rehberg

Extra City Kunsthal and Middelheim Museum

Allegory of the Cave PaintingSubscriber only by Nick Aikens

Mary Mary

Jonathan GardnerSubscriber only by John Quin

Drop City

Nadia HebsonRegistered only by Natasha Soobramanien

Stephen Friedman Gallery

Melvin EdwardsRegistered only by Morgan Quaintance

Rowing

Rachel MacleanSubscriber only by Alice Butler

Institute of Contemporary Arts

Julie VerhoevenRegistered only by Laura Castagnini

Southard Reid

Daniel LippRegistered only by Paul Pieroni

Matt's Gallery

Roy VossSubscriber only by Linda Taylor

White Cube

Senga NengudiSubscriber only by Amy Sherlock

Various venues

Around TownRegistered only by Jörg Heiser

Museu Colecção Berardo

The Reluctant NarratorSubscriber only by Joana Neves

Galerie Francesca Pia

Isabelle CornaroRegistered only by Aoife Rosenmeyer

Balice Hertling

Julie BeaufilsRegistered only by Sabrina Tarasoff

Galerie Conrads

Sascha WeidnerSubscriber only by Timotheus Vermeulen

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From the Archives

Questionnaire: Sarah Lucas

From May 2011

Questionnaire: Sarah Lucas

What images keep you company in the space where you work? Domestic paraphernalia, plus things that find their way in from outside: bits of rock, branches, birds nests, cunted old buckets and so forth.

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