Jacquiline Creswell – interview: ‘When I first sited art in Salisbury Cathedral, I was accused of turning it into a theme park’
Jacquiline Creswell portrait. Photo: Ash Mills. Sculpture: Sail, 2016 by Tony Cragg, White Onyx 220 x 114 x 34 cm. Courtsey of the artist and Lisson Gallery.
When Creswell joined Salisbury Cathedral as arts curator, she was verbally and physically abused. As she explains, it was her first challenge, but not her last. Here, she talks about bringing world-class art to the cathedral in her 12 years there, and her new show at Chichester Cathedral
Biennale Gherdëina 8. Exhibition view at Sala Trenker, Ortisei, 2022. Photo: Tiberio Sorvillo.
Artworks by an eclectic mix of eco-activists and radical thinkers celebrate nature in all its forms, aiming to raise awareness of the fragility of our planet and making nature itself a participant in this year’s festival.
52 Artists: A Feminist Milestone (installation view), The Aldrich Contemporary Art Museum, 6 June 2022 to 8 January 2023. Photo: Jason Mandella.
How has feminism changed in the past half century? This show revisits Lucy Lippard’s historic show and adds 26 new artists to the mix to create a carefully woven tapestry of conceptual crossovers and historical reverberations.
Pilvi Takala talking to Studio International at the Pavilion of Finland, Venice Biennale 2022. Photo: Martin Kennedy.
Close Watch, Takala’s multi-channel video at the Finnish Pavilion, is based on her time working undercover as a security guard in a large shopping centre. As she explains, it explores the concept of how private companies exert control over the behaviour of the public.
Scala at work on Ethereal. Photo: Dan Scala.
When a cryptocurrency investor asked a glass artist to recreate the ethereum logo, the two men initially had different visions of how to do this. But, as they explain, eventually they arrived at Ethereal – the world’s first glass-based NFT.
Simone Leigh, Façade, 2022. Thatch, steel, and wood, dimensions variable. Satellite, 2022. Bronze, 24 × 10 × 7 ft 7 in (7.3× 3 × 2.3 m) (overall). Courtesy the artist and Matthew Marks Gallery. Photo by Timothy Schenck. © Simone Leigh.
This year’s citywide jamboree features riot and revolution, gyrating bodies, battling jet planes, burning fountains and an exhibition for prisoners’ eyes only .
Yessie Mosby, Maluw Adhil Urngu Padanu Mamuy Moesik (Legends from the deep, sitting peacefully upon the waters), 2022. Courtesy the artist. Co-commissioned by the Biennale of Sydney and The Institute of Modern Art, Brisbane; and Torres Strait 8, Poster wall, 2022 (detail). Courtesy the artists with posters by Mooki Pen, Dylan Mooney, Guy Ritani, BlakSeed, Waniki Maluwapi, Jaelyn Biumaiwai. Photography by Mary Harm, Bindimu, Torn Parachute and Daniel Billy. Co-commissioned by the Biennale of Sydney and The Institute of Modern Art, Brisbane. Background: Clare Milledge, Imbás: a well at the bottom of the sea, 2022 (detail). Courtesy the artist & STATION. Commissioned by the Biennale of Sydney with generous support from the Australia Council for the Arts. Installation view, 23rd Biennale of Sydney, rīvus, 2022, Pier 2/3 Walsh Bay Arts Precinct. Photography: Document Photography.
With rivers and wetlands at its thematic centre and Australia’s First People key, the 2022 biennale asserts that sustainability must no longer be a theme, but an action. This is art that packs a powerful political punch  .
Alicia Radage, Mother Bent, 2022. Courtesy of the artist.
As artists squeeze themselves into the tiny fishing town for this year’s event, Brexit, migration and the climate crisis are the dominating themes for many of their thought-provoking works.
Kiki Smith. Lilith, 1994. Image © Pace Gallery.
From goddesses and saints to demons, spirits and witches, from ancient to modern, this phenomenal exhibition celebrates the power of women and considers how that strength shapes our world.
Angela Su talking to Studio International at Hong Kong in Venice 2022. Photo: Martin Kennedy.
Su talks about the new age group that tried to levitate the Pentagon, a story that informed her show at Venice, and says a lot of her work is about the interior of the body and physical transformation.
Otl Aicher: Design. Type. Thinking; Otl Aicher in his Ulm studio, 1953. HfG-Archiv /Museum Ulm.
Aicher’s designs for the 1972 Munich Olympics changed the face of graphic design, but there was much more to his work. This book explores how his writing, thinking and making reflected the political, cultural and social climate of his time.
Alfredo Jaar. Magician, 1979/2012. Lightbox with colour transparency. Transparency: 18 x 12 in (45.7 x 30.5 cm); Lightbox: 18 1/2 x 12 1/2 x 5 1/4 in (47 x 31.8 x 13.3 cm). © Alfredo Jaar. Courtesy Galerie Lelong & Co. and the artist, New York.
Now at two New York shows, Jaar continues to challenge social and political injustice. At the Whitney Biennial, we witness Black Lives Matter marchers being attacked by police and at Galerie Lelong, the artist gathers the work of more than 70 activist artists who have been central to his own thinking.
Milena Dragicevic. Opet, 2002. Oil on linen, 114.5 x 85.1 x 6.7cm (45 1/16 x 33 1/2 x 2 5/8 in). Arts Council Collection, Southbank Centre, London. © the artist.
Lubaina Himid curates this sprawling and powerful group show exploring cities as seen and experienced by women.
Gaudi, installation view, Musée d’Orsay, Paris, 2022. Photo: © Sophie Crépy.
Whether you consider him a madman or a genius, there is no doubt that Gaudí was responsible for a slew of incredible buildings in Barcelona. This retrospective, with three rooms devoted to the Sagrada Família alone, aims to aims to look beyond the cliches to the man himself and his work.
Rachael Louise Bailey. Photo courtesy the artist.
From the synthetic detritus of the oyster industry washed up on the Kent coast and the organic softness of sheep’s fleece, Bailey conjures up fascinating work. She explains what motivates her and how she became obsessed by these two very different materials.
Abbas Akhavan, Variations on a Folly, 2022. Courtesy the artist, The Third Line (UAE) and Catriona Jeffries (Canada). Photo: Keith Hunter.
The artist discusses his site-specific responses, often inspired by residencies, and the processes he uses to generate the most interesting work in that context.
United Visual Artists. Topologies, 2022. Installation view, Future Shock, 2022. Photo: © Jack Hems.
An audiovisual exhibition that joins the dots between contemporary art, electronic music and technology, with varied results.
Niamh O’Malley talking to Studio International at the Irish Pavilion, Venice Biennale 2022. Photo: Martin Kennedy.
O’Malley says she wants her Irish Pavilion installation to be a welcoming space, for visitors to ‘feel the power and the height and weight of things’.
Cornelia Parker, War Room, installation view at Tate Britain. Photo: Tate Photography Oli Cowling.
From the shed blown up by the British army to drone-shot footage of the Commons Chamber to a new work referencing Brexit, from the vast to the intimate, this major survey takes us through 30 years of Parker’s work.
Eduardo Kac: From Minitel to NFT. Exhibition view. Photo: Arturo Sanchez.
Known for naming the domain of ‘bio-art’ and for his creation of a ‘green glowing bunny’, Kac is also a substantial pioneer of digital art. Here, he talks about his current ‘mini retrospective’ in New York.
Assemble and Schools of Tomorrow: The Place We Imagine, installation view at Nottingham Contemporary, 2022. Courtesy Nottingham Contemporary. Photo: Stuart Whipps.
In this fantastically creative play space, children have worked with the Turner-prize winning architectural practice Assemble to bring to life the ideas of the modernist architect Lina Bo Bardi.
Portrait of Amie Siegel. Photo: Jason Schmidt. © Jason Schmidt. Courtesy of the artist and Thomas Dane Gallery.
The American artist discusses her new film work, Bloodlines, a masterful exploration of class, ownership and time glimpsed through the movement of George Stubbs’s paintings.
Lucia Pietroiusti. Photo: Thaddäus Salcher.
The curator, ecological activist and consultant discusses the power of artists to imagine everything from Golden Lion-winning eco-operas, to festivals exploring our relationships with nature.
Rembrandt Harmensz van Rijn, Girl at a Window, 1645. Oil on canvas, 81.8 x 66.2 cm. Dulwich Picture Gallery, London.
From a 3,000-year-old Phoenician ivory relief of a temple prostitute to Rembrandt’s Girl at a Window to Wolfgang Tillmans’ photographic portrait of female techno DJ Smokin’ Jo, this ambitious exhibition emphasises the relationship between the act of looking and being looked at.
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