Issue 160
Jan - Feb 2014

8 Painters on Painting: Jennifer Higgie leads a survey of contemporary figurative painting, asking eight artists what defines their practice and why they continue to paint in the digital age; with contributions from Ellen Altfest, Apostolos Georgiou, Helen Johnson, Imran Qureshi, Henry Taylor, Mark Sadler, Rose Wylie and Lynette Yiadom-Boakye.

Kerry James Marshall discusses the politics of visibility in an interview with Ellen Mara de Wachter; Jonathan Griffin reflects on the continually inventive work of Mark Leckey and Ben Davis looks back at the extremes of 2013.

From this issue

V&A Museum, London

BY Dan Adler |

The legacy of one of Brazil's greatest architects

BY Silas Martí |

Reflections on Italy's continuing decline

BY Barbara Casavecchia |

The increased visibility of art from Africa in the UK

Animating archives in the ‘queer archaeology’ of Berlin-based duo Pauline Boudry / Renate Lorenz

BY Christy Lange |

A sprawling city of more than 15 million inhabitants split between two continents, Istanbul is home to a relatively compact constellation of privately funded foundations, artist-run spaces and commercial galleries. H.G. Masters and Nazli Gurlek survey this art scene’s recent past, and consider what the future might hold in the wake of the Gezi Park protests, a contentious edition of the biennial and little state support

BY H.G. Masters AND Nazli Gurlek |

Film as social experiment, and learning how to communicate without speaking

BY Kirsty Bell |

At a time of revolution in digital technologies, when making extraordinary images has never been technically easier, painting persists. Jennifer Higgie asked eight artists to share their thoughts on the whys and wherefores of figurative painting

BY Jennifer Higgie |

How art in 2013 reflected economic inequalities and suggested alternative ways forward

BY Ben Davis |

With 'one foot in this world and one in another', Mark Leckey's works have a limitless capacity for association

BY Jonathan Griffin |

Narratives of scent and material decay

BY Kari Rittenbach |

Forensic listening and juridical speaking

Fragmentary fiction and cryptic objects

BY Mia Jankowicz |

Visibility, identity and black people on Mars – Kerry James Marshall in conversation with Ellen Mara De Wachter

Newfoundland's Gander International Airport

BY Stephanie DeGooyer |

Meaning beyond the market

BY Jonathan Watkins |

The monumental frequencies of Eleh

BY Andy Battaglia |

How do you rebrand a museum?

BY Emily King |

How writers and filmmakers have responded to that most melancholy of colours

BY Charlie Fox |

The unexpected uses of Google Street View

BY Joanne McNeil |

Late-capitalist technologies propelling culture toward terminal inanity and political economy toward plutocratic rapacity is the rightful province of three new novels

BY Ian Chang |

Santa Barbara Museum of Art, Pomona College Museum of Art & Los Angeles County Museum of Art

BY Carmen Winant |

Rotterdamse Schouwburg, Rotterdam, The Netherlands

BY Arielle Bier |

Galerie Juliètte Jongma, Amsterdam, The Netherlands

BY Shama Khanna |

Walden Affairs, The Hague, The Netherlands

BY Kari Cwynar |

Bundeskunsthalle, Bonn, Germany

BY Raimar Stange |

Lüttgenmeijer, Berlin, Germany

BY Mark Prince |

At ICCD, Rome, Italy, the photographer‘s photographs focus on the marginal, the fragmented and the minimal

BY Luisa Grigoletto |

Galeria Stereo, Warsaw, Poland

BY Krzysztof Kościuczuk |

Hall of the Artists'Union, Makhachkala, Dagestan

BY João Laia |

Museu de Arte Moderna de São Paulo, Brazil

BY Silas Martí |

Mori Art Museum, Tokyo, Japan

BY Becca Voelcker |

Various venues, Nagoya & Okazaki, Japan

BY Sam Phillips |

Centre Pompidou / Palais de Tokyo, Paris

BY Rahma Khazam |