Sangodar Badjasin Ajala<\/h2>\n\n\t\t\t![\"A](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/12\/MZO_Sangodare-Gbadegesin-Ajala_0953.jpg?w=400\")
\n\t\t\t\t\tPhoto credit: Marco Zorzanello\t\t\t\t<\/figcaption><\/figure>\n
\n
\tMost of the late artists at the Venice Biennale are represented by a single work, and in a salon-style presentation grouped by painting genre, curator Adriano Pedrosa wisely included galleries outside the historic district. Several gorgeous works by \u1e62\u00e0ng\u00f3d\u00e1re Gb\u00e1d\u00e9g\u1eb9sin \u00c0j\u00e0l\u00e1 are on display. \u00c0j\u00e0l\u00e1, who died in 2021, created batik paintings that featured double and crossed figures whose colorful bodies benefited from the Nigerian artist’s knowledge of herbalism, which led him to use a variety of plants to achieve a variety of hues . Although his paintings tend to be completely abstract, the figures contained within them remain in focus, displaying a captivating presence against a deep black background. \u00c0j\u00e0l\u00e1 makes a living as a priest of Shango. He was not an artist by training or profession. But his labor-intensive paintings suggest he is still worthy of museum investigation.<\/p>\n<\/article>\n<\/li>\n
- \n
\nMavis Pusey<\/h2>\n\n\t\t\t![\"Two](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/03\/DSC09235.jpg?w=400\")
\n\t\t\t\t\tPhoto credit: Christopher Garcia Valle for ARTnews\t\t\t\t<\/figcaption><\/figure>\n
\n
\tHistorically, deceased artists have not featured in the Whitney Biennial, which is known primarily for spotlighting young artists who deserve attention, but this year, Mavis Pusey joins the ranks of the generations that came after her artists appeared together. Born in Jamaica in 1928, Pusey came to New York at the age of 18 and stayed there for decades, creating semi-abstract paintings based on scenes of abandoned and impoverished neighborhoods. One such canvas with some hard-edged strips\u2014perhaps a reference to the boarded-up windows\u2014takes center stage here, becoming a logical precursor to contemporary artworks focused on suppressing, confusing, and dividing communities excluded. mainstream. Next year Pusey will be the subject of an investigation by the Institute of Contemporary Art in Philadelphia.<\/p>\n<\/article>\n<\/li>\n
- \n
\nTapta<\/h2>\n\n\t\t\t![\"A](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/05\/7.jpg?w=400\")
\n\t\t\t\t\tImage credit: \u00a9Lola Pertsowsky\/Private Collection, Brussels\t\t\t\t<\/figcaption><\/figure>\n
\n
\tThe excitement surrounding Tapta, a Polish-born artist who has lived most of her life in Belgium, has been growing steadily over the past few years, with a 2023 survey at the WIELS Center for Contemporary Art followed this year at the Muzeum Susch A proper retrospective was held. Switzerland. Tapta’s small but growing fan base tends to gravitate toward her fiber art, in which she uses rope to create suspended textiles and structures that evoke jungle-like canopies suspended above the viewer’s head. But this retrospective shows that Tapta was more than just a fiber artist\u2014she innovatively used materials like rubber to form equally majestic sculptures that made hard materials appear soft, and vice versa. Tapta died of a heart attack in 1997 at the age of 71, but it’s fair to say that she had officially found a second chance at life.<\/p>\n<\/article>\n<\/li>\n
- \n
\nHamad Butt<\/h2>\n\n\t\t\t![\"A](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/12\/HB_12.jpg?w=400\")
\n\t\t\t\t\tImage source: Tate Gallery\t\t\t\t<\/figcaption><\/figure>\n
\n
\tHamad Butt left behind a small but formidable body of work that established him as an important, albeit relatively unknown, artist adjacent to the group of young British artists of the 1990s. The Pakistani-born British artist finally gets the retrospective he deserves at the Irish Museum of Modern Art in Dublin, which is currently showing a series of Barth’s sculptures, many of which are fragile in design. Take, for example, a 1992 sculpture in which a tube of iodine is contained in a glass container and illuminated with infrared light. The piece could easily be damaged or destroyed; its vulnerability was not unlike that of Bart’s body, which at the time was already beginning to battle HIV. About two years after completing the work, Barthes died of AIDS-related complications, plunging his work into semi-obscurity. Now, it’s poised to gain even more attention.<\/p>\n<\/article>\n<\/li>\n
- \n
\nLillian Lane<\/h2>\n\n\t\t\t![\"Two](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/02\/HDK_LilianeLijn_Cosmic-Dramas-Conjunction-of-Opposites.jpg?w=400\")
\n\t\t\t\t\tImage credit: Photo Stephen Weiss\/Courtesy of the artist\t\t\t\t<\/figcaption><\/figure>\n
\n
\tFor decades, Liliane Lijn has created a fascinating body of work that explores invisible forces: female presence, power and words. International audiences have already seen many of her sculptures, including at the 2022 Venice Biennale, where she showed three works from the 1970s and 1980s that looked like female bodies and imaginary creatures. . The American-born artist, who is now in her 80s and has spent much of her life in London, is having her most comprehensive retrospective to date, organized by the Munich Haus der Kunst and Tate St. Organized jointly with the Tate St. Ives and at Haus Der Kunst and the Mumok Museum in Vienna. Appropriately, the exhibition is titled “Alive,” referring to the inner life that her sculptures often seem to imbue with.<\/p>\n<\/article>\n<\/li>\n
- \n
\nEmily Karaka<\/h2>\n\n\t\t\t![\"A](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/12\/9.jpg?w=400\")
\n\t\t\t\t\tImage credit: Courtesy of the artist\/Auckland Art Gallery Auckland Arts\t\t\t\t<\/figcaption><\/figure>\n
\n
\tThe bright, cheerful colors of Emily Karaka’s paintings seem to conflict with her subjects, which are often the dispossession of their native land. The artist, who is of Ngati Te Ahi Waru descent and is now in her 70s, has never made entirely somber art, although she often refers to the Treaty of Waitangi, which stripped Maori of their rights during its formation. New Zealand (Aotearoa) now. Karaka\u2019s Sharjah Art Foundation retrospective shows how the artist skillfully layered text, indigenous symbols and bright, abstract patterns to critique the history of colonialism, sometimes even shifting her focus beyond the South Pacific. For example, one of the new paintings in the exhibition refers to Palestine, whose struggle she clearly identifies as a M\u0101ori struggle.<\/p>\n<\/article>\n<\/li>\n
- \n
\nBritta Malacat-Raba<\/h2>\n\n\t\t\t![\"A](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/12\/Britta-Marakatt-Labba-Sylkvasse-sting-12.jpg?w=400\")
\n\t\t\t\t\tPhoto credit: Ina Weisenberg\t\t\t\t<\/figcaption><\/figure>\n
\n
\tBritta Marakatt-Labba is one of the most important Sami artists and her appearances at Documenta 14 in 2017 and the Venice Biennale in 2022 significantly enhanced her visibility. Some of her spare textiles and drawings chart Sweden’s national history, showing how the country deliberately took steps to dispossess the Nordic region’s indigenous people of their land and livelihoods, but the majority of her work functions differently. Among her numerous works, including her critically acclaimed history<\/em> (2003-07), she focuses on the survival of the Sami people and records their centuries-old legends. The National Museum in Oslo hosted the 73-year-old star’s biggest show of the year so far.<\/p>\n<\/article>\n<\/li>\n- \n
\nDjura Kosice<\/h2>\n\n\t\t\t![\"A](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/12\/kosice-SALA-ALTA-7620-v2.jpg?w=400\")
\n\t\t\t\t\tImage source: provided by MALBA\t\t\t\t<\/figcaption><\/figure>\n
\n
\tUntil this year, Djura Ko\u0161ice was primarily known for one piece of work: his room-filling installations water space city<\/em> (Aquaspace City, 1946-72), featuring suspended Plexiglas works, he meant as a vision of how humans could persevere after leaving this planet. Yet Kosice is much more than that, as his retrospective at the Museum of Latin American Art in Buenos Aires (MALBA) attests. The exhibition shows how Ko\u0161ice, who was born in Slovakia and spent much of his career in Buenos Aires, helped found the movement known as Madi, which in the 1940s aspired to prove that abstraction could be a a form of liberation. His MALBA retrospective positioned Madi as an important turning point in the history of Argentine art, inspiring generations of artists to follow.<\/p>\n<\/article>\n<\/li>\n- \n
\nJinlin<\/h2>\n\n\t\t\t![\"Two](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/12\/Installation-view-Kim-Lim_-The-Space-Between.-A-Retrospective-National-Gallery-Singapore-2024.-Image-courtesy-of-National-Gallery-Singapore.-Estate-of-Kim-Lim.-All-Rights-Reserved-DACS-2024.jpg?w=400\")
\n\t\t\t\t\tImage credit: \u00a9Kim Lim\/DACS, 2024\/Courtesy of the National Gallery Singapore\t\t\t\t<\/figcaption><\/figure>\n
\n
\t“For me,” Singaporean-British artist Kim Lim once said, “a sculpture has to have a presence and I want people to be able to immediately see it as a whole.” This seems like an ironic statement, since she makes The metal and wood sculptures are quiet, largely colorless, and often modest in scale\u2014not the kind of art typically thought of as taking up space. But Lim’s National Gallery Singapore retrospective, the first touring exhibition to be shown at Hepworth Wakefield in the UK, shows how the artist breathed life into minimalism, making it appear tangible at times. For Lim, this show is a comeback. She was born in Singapore in 1936 and died sixty years later in London, where she first came to attention.<\/p>\n<\/article>\n<\/li>\n
- \n
\nAnna Lupas<\/h2>\n\n\t\t\t![\"It](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/02\/1ana-lupas-coats-to-borrow-1989-installation-of-six-handmade-coats-in-various-techniques-various-painted-metal-racks-bedsprings-definitiva-fattura.jpg?w=400\")
\n\t\t\t\t\tImage source: Photo Carlo Favero\/Stedelijk Museum Amsterdam\t\t\t\t<\/figcaption><\/figure>\n
\n
\tDuring the regime of Nicolae Ceau\u015fescu, when experimentalism was hampered in Romania, Ana Lupas bravely worked in an avant-garde way, creating brilliantly unconventional works such as solemn process<\/em> (1964-2008), consists of a metallic structure made of steel, straw and wire mesh that is reminiscent of ancient objects indigenous to the country. These rings and triangles were first exhibited outdoors in the mid-1960s and then gradually disappeared. Thank God she recreated works like this with a retrospective at the Stedelijk Museum. The exhibition, currently on display at the Liechtenstein Museum of Art, explores how the 84-year-old artist revived local traditions, effectively keeping ideas and rituals on the verge of being lost alive.<\/p>\n<\/article>\n<\/li>\n<\/ul><\/div>\n<\/div><\/div>\n
\t\t\t\t\tPhoto credit: Marco Zorzanello\t\t\t\t<\/figcaption><\/figure>\n
\n
\tMost of the late artists at the Venice Biennale are represented by a single work, and in a salon-style presentation grouped by painting genre, curator Adriano Pedrosa wisely included galleries outside the historic district. Several gorgeous works by \u1e62\u00e0ng\u00f3d\u00e1re Gb\u00e1d\u00e9g\u1eb9sin \u00c0j\u00e0l\u00e1 are on display. \u00c0j\u00e0l\u00e1, who died in 2021, created batik paintings that featured double and crossed figures whose colorful bodies benefited from the Nigerian artist’s knowledge of herbalism, which led him to use a variety of plants to achieve a variety of hues . Although his paintings tend to be completely abstract, the figures contained within them remain in focus, displaying a captivating presence against a deep black background. \u00c0j\u00e0l\u00e1 makes a living as a priest of Shango. He was not an artist by training or profession. But his labor-intensive paintings suggest he is still worthy of museum investigation.<\/p>\n<\/article>\n<\/li>\n
Mavis Pusey<\/h2>\n\n\t\t\t\n\t\t\t\t\tPhoto credit: Christopher Garcia Valle for ARTnews\t\t\t\t<\/figcaption><\/figure>\n
\n
\tHistorically, deceased artists have not featured in the Whitney Biennial, which is known primarily for spotlighting young artists who deserve attention, but this year, Mavis Pusey joins the ranks of the generations that came after her artists appeared together. Born in Jamaica in 1928, Pusey came to New York at the age of 18 and stayed there for decades, creating semi-abstract paintings based on scenes of abandoned and impoverished neighborhoods. One such canvas with some hard-edged strips\u2014perhaps a reference to the boarded-up windows\u2014takes center stage here, becoming a logical precursor to contemporary artworks focused on suppressing, confusing, and dividing communities excluded. mainstream. Next year Pusey will be the subject of an investigation by the Institute of Contemporary Art in Philadelphia.<\/p>\n<\/article>\n<\/li>\n
- \n
\nTapta<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage credit: \u00a9Lola Pertsowsky\/Private Collection, Brussels\t\t\t\t<\/figcaption><\/figure>\n
\n
\tThe excitement surrounding Tapta, a Polish-born artist who has lived most of her life in Belgium, has been growing steadily over the past few years, with a 2023 survey at the WIELS Center for Contemporary Art followed this year at the Muzeum Susch A proper retrospective was held. Switzerland. Tapta’s small but growing fan base tends to gravitate toward her fiber art, in which she uses rope to create suspended textiles and structures that evoke jungle-like canopies suspended above the viewer’s head. But this retrospective shows that Tapta was more than just a fiber artist\u2014she innovatively used materials like rubber to form equally majestic sculptures that made hard materials appear soft, and vice versa. Tapta died of a heart attack in 1997 at the age of 71, but it’s fair to say that she had officially found a second chance at life.<\/p>\n<\/article>\n<\/li>\n
- \n
\nHamad Butt<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage source: Tate Gallery\t\t\t\t<\/figcaption><\/figure>\n
\n
\tHamad Butt left behind a small but formidable body of work that established him as an important, albeit relatively unknown, artist adjacent to the group of young British artists of the 1990s. The Pakistani-born British artist finally gets the retrospective he deserves at the Irish Museum of Modern Art in Dublin, which is currently showing a series of Barth’s sculptures, many of which are fragile in design. Take, for example, a 1992 sculpture in which a tube of iodine is contained in a glass container and illuminated with infrared light. The piece could easily be damaged or destroyed; its vulnerability was not unlike that of Bart’s body, which at the time was already beginning to battle HIV. About two years after completing the work, Barthes died of AIDS-related complications, plunging his work into semi-obscurity. Now, it’s poised to gain even more attention.<\/p>\n<\/article>\n<\/li>\n
- \n
\nLillian Lane<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage credit: Photo Stephen Weiss\/Courtesy of the artist\t\t\t\t<\/figcaption><\/figure>\n
\n
\tFor decades, Liliane Lijn has created a fascinating body of work that explores invisible forces: female presence, power and words. International audiences have already seen many of her sculptures, including at the 2022 Venice Biennale, where she showed three works from the 1970s and 1980s that looked like female bodies and imaginary creatures. . The American-born artist, who is now in her 80s and has spent much of her life in London, is having her most comprehensive retrospective to date, organized by the Munich Haus der Kunst and Tate St. Organized jointly with the Tate St. Ives and at Haus Der Kunst and the Mumok Museum in Vienna. Appropriately, the exhibition is titled “Alive,” referring to the inner life that her sculptures often seem to imbue with.<\/p>\n<\/article>\n<\/li>\n
- \n
\nEmily Karaka<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage credit: Courtesy of the artist\/Auckland Art Gallery Auckland Arts\t\t\t\t<\/figcaption><\/figure>\n
\n
\tThe bright, cheerful colors of Emily Karaka’s paintings seem to conflict with her subjects, which are often the dispossession of their native land. The artist, who is of Ngati Te Ahi Waru descent and is now in her 70s, has never made entirely somber art, although she often refers to the Treaty of Waitangi, which stripped Maori of their rights during its formation. New Zealand (Aotearoa) now. Karaka\u2019s Sharjah Art Foundation retrospective shows how the artist skillfully layered text, indigenous symbols and bright, abstract patterns to critique the history of colonialism, sometimes even shifting her focus beyond the South Pacific. For example, one of the new paintings in the exhibition refers to Palestine, whose struggle she clearly identifies as a M\u0101ori struggle.<\/p>\n<\/article>\n<\/li>\n
- \n
\nBritta Malacat-Raba<\/h2>\n\n\t\t\t\n\t\t\t\t\tPhoto credit: Ina Weisenberg\t\t\t\t<\/figcaption><\/figure>\n
\n
\tBritta Marakatt-Labba is one of the most important Sami artists and her appearances at Documenta 14 in 2017 and the Venice Biennale in 2022 significantly enhanced her visibility. Some of her spare textiles and drawings chart Sweden’s national history, showing how the country deliberately took steps to dispossess the Nordic region’s indigenous people of their land and livelihoods, but the majority of her work functions differently. Among her numerous works, including her critically acclaimed history<\/em> (2003-07), she focuses on the survival of the Sami people and records their centuries-old legends. The National Museum in Oslo hosted the 73-year-old star’s biggest show of the year so far.<\/p>\n<\/article>\n<\/li>\n- \n
\nDjura Kosice<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage source: provided by MALBA\t\t\t\t<\/figcaption><\/figure>\n
\n
\tUntil this year, Djura Ko\u0161ice was primarily known for one piece of work: his room-filling installations water space city<\/em> (Aquaspace City, 1946-72), featuring suspended Plexiglas works, he meant as a vision of how humans could persevere after leaving this planet. Yet Kosice is much more than that, as his retrospective at the Museum of Latin American Art in Buenos Aires (MALBA) attests. The exhibition shows how Ko\u0161ice, who was born in Slovakia and spent much of his career in Buenos Aires, helped found the movement known as Madi, which in the 1940s aspired to prove that abstraction could be a a form of liberation. His MALBA retrospective positioned Madi as an important turning point in the history of Argentine art, inspiring generations of artists to follow.<\/p>\n<\/article>\n<\/li>\n- \n
\nJinlin<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage credit: \u00a9Kim Lim\/DACS, 2024\/Courtesy of the National Gallery Singapore\t\t\t\t<\/figcaption><\/figure>\n
\n
\t“For me,” Singaporean-British artist Kim Lim once said, “a sculpture has to have a presence and I want people to be able to immediately see it as a whole.” This seems like an ironic statement, since she makes The metal and wood sculptures are quiet, largely colorless, and often modest in scale\u2014not the kind of art typically thought of as taking up space. But Lim’s National Gallery Singapore retrospective, the first touring exhibition to be shown at Hepworth Wakefield in the UK, shows how the artist breathed life into minimalism, making it appear tangible at times. For Lim, this show is a comeback. She was born in Singapore in 1936 and died sixty years later in London, where she first came to attention.<\/p>\n<\/article>\n<\/li>\n
- \n
\nAnna Lupas<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage source: Photo Carlo Favero\/Stedelijk Museum Amsterdam\t\t\t\t<\/figcaption><\/figure>\n
\n
\tDuring the regime of Nicolae Ceau\u015fescu, when experimentalism was hampered in Romania, Ana Lupas bravely worked in an avant-garde way, creating brilliantly unconventional works such as solemn process<\/em> (1964-2008), consists of a metallic structure made of steel, straw and wire mesh that is reminiscent of ancient objects indigenous to the country. These rings and triangles were first exhibited outdoors in the mid-1960s and then gradually disappeared. Thank God she recreated works like this with a retrospective at the Stedelijk Museum. The exhibition, currently on display at the Liechtenstein Museum of Art, explores how the 84-year-old artist revived local traditions, effectively keeping ideas and rituals on the verge of being lost alive.<\/p>\n<\/article>\n<\/li>\n<\/ul><\/div>\n<\/div><\/div>\n
\t\t\t\t\tPhoto credit: Christopher Garcia Valle for ARTnews\t\t\t\t<\/figcaption><\/figure>\n
\n
\tHistorically, deceased artists have not featured in the Whitney Biennial, which is known primarily for spotlighting young artists who deserve attention, but this year, Mavis Pusey joins the ranks of the generations that came after her artists appeared together. Born in Jamaica in 1928, Pusey came to New York at the age of 18 and stayed there for decades, creating semi-abstract paintings based on scenes of abandoned and impoverished neighborhoods. One such canvas with some hard-edged strips\u2014perhaps a reference to the boarded-up windows\u2014takes center stage here, becoming a logical precursor to contemporary artworks focused on suppressing, confusing, and dividing communities excluded. mainstream. Next year Pusey will be the subject of an investigation by the Institute of Contemporary Art in Philadelphia.<\/p>\n<\/article>\n<\/li>\n
Tapta<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage credit: \u00a9Lola Pertsowsky\/Private Collection, Brussels\t\t\t\t<\/figcaption><\/figure>\n
\n
\tThe excitement surrounding Tapta, a Polish-born artist who has lived most of her life in Belgium, has been growing steadily over the past few years, with a 2023 survey at the WIELS Center for Contemporary Art followed this year at the Muzeum Susch A proper retrospective was held. Switzerland. Tapta’s small but growing fan base tends to gravitate toward her fiber art, in which she uses rope to create suspended textiles and structures that evoke jungle-like canopies suspended above the viewer’s head. But this retrospective shows that Tapta was more than just a fiber artist\u2014she innovatively used materials like rubber to form equally majestic sculptures that made hard materials appear soft, and vice versa. Tapta died of a heart attack in 1997 at the age of 71, but it’s fair to say that she had officially found a second chance at life.<\/p>\n<\/article>\n<\/li>\n
- \n
\nHamad Butt<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage source: Tate Gallery\t\t\t\t<\/figcaption><\/figure>\n
\n
\tHamad Butt left behind a small but formidable body of work that established him as an important, albeit relatively unknown, artist adjacent to the group of young British artists of the 1990s. The Pakistani-born British artist finally gets the retrospective he deserves at the Irish Museum of Modern Art in Dublin, which is currently showing a series of Barth’s sculptures, many of which are fragile in design. Take, for example, a 1992 sculpture in which a tube of iodine is contained in a glass container and illuminated with infrared light. The piece could easily be damaged or destroyed; its vulnerability was not unlike that of Bart’s body, which at the time was already beginning to battle HIV. About two years after completing the work, Barthes died of AIDS-related complications, plunging his work into semi-obscurity. Now, it’s poised to gain even more attention.<\/p>\n<\/article>\n<\/li>\n
- \n
\nLillian Lane<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage credit: Photo Stephen Weiss\/Courtesy of the artist\t\t\t\t<\/figcaption><\/figure>\n
\n
\tFor decades, Liliane Lijn has created a fascinating body of work that explores invisible forces: female presence, power and words. International audiences have already seen many of her sculptures, including at the 2022 Venice Biennale, where she showed three works from the 1970s and 1980s that looked like female bodies and imaginary creatures. . The American-born artist, who is now in her 80s and has spent much of her life in London, is having her most comprehensive retrospective to date, organized by the Munich Haus der Kunst and Tate St. Organized jointly with the Tate St. Ives and at Haus Der Kunst and the Mumok Museum in Vienna. Appropriately, the exhibition is titled “Alive,” referring to the inner life that her sculptures often seem to imbue with.<\/p>\n<\/article>\n<\/li>\n
- \n
\nEmily Karaka<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage credit: Courtesy of the artist\/Auckland Art Gallery Auckland Arts\t\t\t\t<\/figcaption><\/figure>\n
\n
\tThe bright, cheerful colors of Emily Karaka’s paintings seem to conflict with her subjects, which are often the dispossession of their native land. The artist, who is of Ngati Te Ahi Waru descent and is now in her 70s, has never made entirely somber art, although she often refers to the Treaty of Waitangi, which stripped Maori of their rights during its formation. New Zealand (Aotearoa) now. Karaka\u2019s Sharjah Art Foundation retrospective shows how the artist skillfully layered text, indigenous symbols and bright, abstract patterns to critique the history of colonialism, sometimes even shifting her focus beyond the South Pacific. For example, one of the new paintings in the exhibition refers to Palestine, whose struggle she clearly identifies as a M\u0101ori struggle.<\/p>\n<\/article>\n<\/li>\n
- \n
\nBritta Malacat-Raba<\/h2>\n\n\t\t\t\n\t\t\t\t\tPhoto credit: Ina Weisenberg\t\t\t\t<\/figcaption><\/figure>\n
\n
\tBritta Marakatt-Labba is one of the most important Sami artists and her appearances at Documenta 14 in 2017 and the Venice Biennale in 2022 significantly enhanced her visibility. Some of her spare textiles and drawings chart Sweden’s national history, showing how the country deliberately took steps to dispossess the Nordic region’s indigenous people of their land and livelihoods, but the majority of her work functions differently. Among her numerous works, including her critically acclaimed history<\/em> (2003-07), she focuses on the survival of the Sami people and records their centuries-old legends. The National Museum in Oslo hosted the 73-year-old star’s biggest show of the year so far.<\/p>\n<\/article>\n<\/li>\n- \n
\nDjura Kosice<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage source: provided by MALBA\t\t\t\t<\/figcaption><\/figure>\n
\n
\tUntil this year, Djura Ko\u0161ice was primarily known for one piece of work: his room-filling installations water space city<\/em> (Aquaspace City, 1946-72), featuring suspended Plexiglas works, he meant as a vision of how humans could persevere after leaving this planet. Yet Kosice is much more than that, as his retrospective at the Museum of Latin American Art in Buenos Aires (MALBA) attests. The exhibition shows how Ko\u0161ice, who was born in Slovakia and spent much of his career in Buenos Aires, helped found the movement known as Madi, which in the 1940s aspired to prove that abstraction could be a a form of liberation. His MALBA retrospective positioned Madi as an important turning point in the history of Argentine art, inspiring generations of artists to follow.<\/p>\n<\/article>\n<\/li>\n- \n
\nJinlin<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage credit: \u00a9Kim Lim\/DACS, 2024\/Courtesy of the National Gallery Singapore\t\t\t\t<\/figcaption><\/figure>\n
\n
\t“For me,” Singaporean-British artist Kim Lim once said, “a sculpture has to have a presence and I want people to be able to immediately see it as a whole.” This seems like an ironic statement, since she makes The metal and wood sculptures are quiet, largely colorless, and often modest in scale\u2014not the kind of art typically thought of as taking up space. But Lim’s National Gallery Singapore retrospective, the first touring exhibition to be shown at Hepworth Wakefield in the UK, shows how the artist breathed life into minimalism, making it appear tangible at times. For Lim, this show is a comeback. She was born in Singapore in 1936 and died sixty years later in London, where she first came to attention.<\/p>\n<\/article>\n<\/li>\n
- \n
\nAnna Lupas<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage source: Photo Carlo Favero\/Stedelijk Museum Amsterdam\t\t\t\t<\/figcaption><\/figure>\n
\n
\tDuring the regime of Nicolae Ceau\u015fescu, when experimentalism was hampered in Romania, Ana Lupas bravely worked in an avant-garde way, creating brilliantly unconventional works such as solemn process<\/em> (1964-2008), consists of a metallic structure made of steel, straw and wire mesh that is reminiscent of ancient objects indigenous to the country. These rings and triangles were first exhibited outdoors in the mid-1960s and then gradually disappeared. Thank God she recreated works like this with a retrospective at the Stedelijk Museum. The exhibition, currently on display at the Liechtenstein Museum of Art, explores how the 84-year-old artist revived local traditions, effectively keeping ideas and rituals on the verge of being lost alive.<\/p>\n<\/article>\n<\/li>\n<\/ul><\/div>\n<\/div><\/div>\n
\t\t\t\t\tImage credit: \u00a9Lola Pertsowsky\/Private Collection, Brussels\t\t\t\t<\/figcaption><\/figure>\n
\n
\tThe excitement surrounding Tapta, a Polish-born artist who has lived most of her life in Belgium, has been growing steadily over the past few years, with a 2023 survey at the WIELS Center for Contemporary Art followed this year at the Muzeum Susch A proper retrospective was held. Switzerland. Tapta’s small but growing fan base tends to gravitate toward her fiber art, in which she uses rope to create suspended textiles and structures that evoke jungle-like canopies suspended above the viewer’s head. But this retrospective shows that Tapta was more than just a fiber artist\u2014she innovatively used materials like rubber to form equally majestic sculptures that made hard materials appear soft, and vice versa. Tapta died of a heart attack in 1997 at the age of 71, but it’s fair to say that she had officially found a second chance at life.<\/p>\n<\/article>\n<\/li>\n
Hamad Butt<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage source: Tate Gallery\t\t\t\t<\/figcaption><\/figure>\n
\n
\tHamad Butt left behind a small but formidable body of work that established him as an important, albeit relatively unknown, artist adjacent to the group of young British artists of the 1990s. The Pakistani-born British artist finally gets the retrospective he deserves at the Irish Museum of Modern Art in Dublin, which is currently showing a series of Barth’s sculptures, many of which are fragile in design. Take, for example, a 1992 sculpture in which a tube of iodine is contained in a glass container and illuminated with infrared light. The piece could easily be damaged or destroyed; its vulnerability was not unlike that of Bart’s body, which at the time was already beginning to battle HIV. About two years after completing the work, Barthes died of AIDS-related complications, plunging his work into semi-obscurity. Now, it’s poised to gain even more attention.<\/p>\n<\/article>\n<\/li>\n
- \n
\nLillian Lane<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage credit: Photo Stephen Weiss\/Courtesy of the artist\t\t\t\t<\/figcaption><\/figure>\n
\n
\tFor decades, Liliane Lijn has created a fascinating body of work that explores invisible forces: female presence, power and words. International audiences have already seen many of her sculptures, including at the 2022 Venice Biennale, where she showed three works from the 1970s and 1980s that looked like female bodies and imaginary creatures. . The American-born artist, who is now in her 80s and has spent much of her life in London, is having her most comprehensive retrospective to date, organized by the Munich Haus der Kunst and Tate St. Organized jointly with the Tate St. Ives and at Haus Der Kunst and the Mumok Museum in Vienna. Appropriately, the exhibition is titled “Alive,” referring to the inner life that her sculptures often seem to imbue with.<\/p>\n<\/article>\n<\/li>\n
- \n
\nEmily Karaka<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage credit: Courtesy of the artist\/Auckland Art Gallery Auckland Arts\t\t\t\t<\/figcaption><\/figure>\n
\n
\tThe bright, cheerful colors of Emily Karaka’s paintings seem to conflict with her subjects, which are often the dispossession of their native land. The artist, who is of Ngati Te Ahi Waru descent and is now in her 70s, has never made entirely somber art, although she often refers to the Treaty of Waitangi, which stripped Maori of their rights during its formation. New Zealand (Aotearoa) now. Karaka\u2019s Sharjah Art Foundation retrospective shows how the artist skillfully layered text, indigenous symbols and bright, abstract patterns to critique the history of colonialism, sometimes even shifting her focus beyond the South Pacific. For example, one of the new paintings in the exhibition refers to Palestine, whose struggle she clearly identifies as a M\u0101ori struggle.<\/p>\n<\/article>\n<\/li>\n
- \n
\nBritta Malacat-Raba<\/h2>\n\n\t\t\t\n\t\t\t\t\tPhoto credit: Ina Weisenberg\t\t\t\t<\/figcaption><\/figure>\n
\n
\tBritta Marakatt-Labba is one of the most important Sami artists and her appearances at Documenta 14 in 2017 and the Venice Biennale in 2022 significantly enhanced her visibility. Some of her spare textiles and drawings chart Sweden’s national history, showing how the country deliberately took steps to dispossess the Nordic region’s indigenous people of their land and livelihoods, but the majority of her work functions differently. Among her numerous works, including her critically acclaimed history<\/em> (2003-07), she focuses on the survival of the Sami people and records their centuries-old legends. The National Museum in Oslo hosted the 73-year-old star’s biggest show of the year so far.<\/p>\n<\/article>\n<\/li>\n- \n
\nDjura Kosice<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage source: provided by MALBA\t\t\t\t<\/figcaption><\/figure>\n
\n
\tUntil this year, Djura Ko\u0161ice was primarily known for one piece of work: his room-filling installations water space city<\/em> (Aquaspace City, 1946-72), featuring suspended Plexiglas works, he meant as a vision of how humans could persevere after leaving this planet. Yet Kosice is much more than that, as his retrospective at the Museum of Latin American Art in Buenos Aires (MALBA) attests. The exhibition shows how Ko\u0161ice, who was born in Slovakia and spent much of his career in Buenos Aires, helped found the movement known as Madi, which in the 1940s aspired to prove that abstraction could be a a form of liberation. His MALBA retrospective positioned Madi as an important turning point in the history of Argentine art, inspiring generations of artists to follow.<\/p>\n<\/article>\n<\/li>\n- \n
\nJinlin<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage credit: \u00a9Kim Lim\/DACS, 2024\/Courtesy of the National Gallery Singapore\t\t\t\t<\/figcaption><\/figure>\n
\n
\t“For me,” Singaporean-British artist Kim Lim once said, “a sculpture has to have a presence and I want people to be able to immediately see it as a whole.” This seems like an ironic statement, since she makes The metal and wood sculptures are quiet, largely colorless, and often modest in scale\u2014not the kind of art typically thought of as taking up space. But Lim’s National Gallery Singapore retrospective, the first touring exhibition to be shown at Hepworth Wakefield in the UK, shows how the artist breathed life into minimalism, making it appear tangible at times. For Lim, this show is a comeback. She was born in Singapore in 1936 and died sixty years later in London, where she first came to attention.<\/p>\n<\/article>\n<\/li>\n
- \n
\nAnna Lupas<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage source: Photo Carlo Favero\/Stedelijk Museum Amsterdam\t\t\t\t<\/figcaption><\/figure>\n
\n
\tDuring the regime of Nicolae Ceau\u015fescu, when experimentalism was hampered in Romania, Ana Lupas bravely worked in an avant-garde way, creating brilliantly unconventional works such as solemn process<\/em> (1964-2008), consists of a metallic structure made of steel, straw and wire mesh that is reminiscent of ancient objects indigenous to the country. These rings and triangles were first exhibited outdoors in the mid-1960s and then gradually disappeared. Thank God she recreated works like this with a retrospective at the Stedelijk Museum. The exhibition, currently on display at the Liechtenstein Museum of Art, explores how the 84-year-old artist revived local traditions, effectively keeping ideas and rituals on the verge of being lost alive.<\/p>\n<\/article>\n<\/li>\n<\/ul><\/div>\n<\/div><\/div>\n
\t\t\t\t\tImage source: Tate Gallery\t\t\t\t<\/figcaption><\/figure>\n
\n
\tHamad Butt left behind a small but formidable body of work that established him as an important, albeit relatively unknown, artist adjacent to the group of young British artists of the 1990s. The Pakistani-born British artist finally gets the retrospective he deserves at the Irish Museum of Modern Art in Dublin, which is currently showing a series of Barth’s sculptures, many of which are fragile in design. Take, for example, a 1992 sculpture in which a tube of iodine is contained in a glass container and illuminated with infrared light. The piece could easily be damaged or destroyed; its vulnerability was not unlike that of Bart’s body, which at the time was already beginning to battle HIV. About two years after completing the work, Barthes died of AIDS-related complications, plunging his work into semi-obscurity. Now, it’s poised to gain even more attention.<\/p>\n<\/article>\n<\/li>\n
Lillian Lane<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage credit: Photo Stephen Weiss\/Courtesy of the artist\t\t\t\t<\/figcaption><\/figure>\n
\n
\tFor decades, Liliane Lijn has created a fascinating body of work that explores invisible forces: female presence, power and words. International audiences have already seen many of her sculptures, including at the 2022 Venice Biennale, where she showed three works from the 1970s and 1980s that looked like female bodies and imaginary creatures. . The American-born artist, who is now in her 80s and has spent much of her life in London, is having her most comprehensive retrospective to date, organized by the Munich Haus der Kunst and Tate St. Organized jointly with the Tate St. Ives and at Haus Der Kunst and the Mumok Museum in Vienna. Appropriately, the exhibition is titled “Alive,” referring to the inner life that her sculptures often seem to imbue with.<\/p>\n<\/article>\n<\/li>\n
- \n
\nEmily Karaka<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage credit: Courtesy of the artist\/Auckland Art Gallery Auckland Arts\t\t\t\t<\/figcaption><\/figure>\n
\n
\tThe bright, cheerful colors of Emily Karaka’s paintings seem to conflict with her subjects, which are often the dispossession of their native land. The artist, who is of Ngati Te Ahi Waru descent and is now in her 70s, has never made entirely somber art, although she often refers to the Treaty of Waitangi, which stripped Maori of their rights during its formation. New Zealand (Aotearoa) now. Karaka\u2019s Sharjah Art Foundation retrospective shows how the artist skillfully layered text, indigenous symbols and bright, abstract patterns to critique the history of colonialism, sometimes even shifting her focus beyond the South Pacific. For example, one of the new paintings in the exhibition refers to Palestine, whose struggle she clearly identifies as a M\u0101ori struggle.<\/p>\n<\/article>\n<\/li>\n
- \n
\nBritta Malacat-Raba<\/h2>\n\n\t\t\t\n\t\t\t\t\tPhoto credit: Ina Weisenberg\t\t\t\t<\/figcaption><\/figure>\n
\n
\tBritta Marakatt-Labba is one of the most important Sami artists and her appearances at Documenta 14 in 2017 and the Venice Biennale in 2022 significantly enhanced her visibility. Some of her spare textiles and drawings chart Sweden’s national history, showing how the country deliberately took steps to dispossess the Nordic region’s indigenous people of their land and livelihoods, but the majority of her work functions differently. Among her numerous works, including her critically acclaimed history<\/em> (2003-07), she focuses on the survival of the Sami people and records their centuries-old legends. The National Museum in Oslo hosted the 73-year-old star’s biggest show of the year so far.<\/p>\n<\/article>\n<\/li>\n- \n
\nDjura Kosice<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage source: provided by MALBA\t\t\t\t<\/figcaption><\/figure>\n
\n
\tUntil this year, Djura Ko\u0161ice was primarily known for one piece of work: his room-filling installations water space city<\/em> (Aquaspace City, 1946-72), featuring suspended Plexiglas works, he meant as a vision of how humans could persevere after leaving this planet. Yet Kosice is much more than that, as his retrospective at the Museum of Latin American Art in Buenos Aires (MALBA) attests. The exhibition shows how Ko\u0161ice, who was born in Slovakia and spent much of his career in Buenos Aires, helped found the movement known as Madi, which in the 1940s aspired to prove that abstraction could be a a form of liberation. His MALBA retrospective positioned Madi as an important turning point in the history of Argentine art, inspiring generations of artists to follow.<\/p>\n<\/article>\n<\/li>\n- \n
\nJinlin<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage credit: \u00a9Kim Lim\/DACS, 2024\/Courtesy of the National Gallery Singapore\t\t\t\t<\/figcaption><\/figure>\n
\n
\t“For me,” Singaporean-British artist Kim Lim once said, “a sculpture has to have a presence and I want people to be able to immediately see it as a whole.” This seems like an ironic statement, since she makes The metal and wood sculptures are quiet, largely colorless, and often modest in scale\u2014not the kind of art typically thought of as taking up space. But Lim’s National Gallery Singapore retrospective, the first touring exhibition to be shown at Hepworth Wakefield in the UK, shows how the artist breathed life into minimalism, making it appear tangible at times. For Lim, this show is a comeback. She was born in Singapore in 1936 and died sixty years later in London, where she first came to attention.<\/p>\n<\/article>\n<\/li>\n
- \n
\nAnna Lupas<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage source: Photo Carlo Favero\/Stedelijk Museum Amsterdam\t\t\t\t<\/figcaption><\/figure>\n
\n
\tDuring the regime of Nicolae Ceau\u015fescu, when experimentalism was hampered in Romania, Ana Lupas bravely worked in an avant-garde way, creating brilliantly unconventional works such as solemn process<\/em> (1964-2008), consists of a metallic structure made of steel, straw and wire mesh that is reminiscent of ancient objects indigenous to the country. These rings and triangles were first exhibited outdoors in the mid-1960s and then gradually disappeared. Thank God she recreated works like this with a retrospective at the Stedelijk Museum. The exhibition, currently on display at the Liechtenstein Museum of Art, explores how the 84-year-old artist revived local traditions, effectively keeping ideas and rituals on the verge of being lost alive.<\/p>\n<\/article>\n<\/li>\n<\/ul><\/div>\n<\/div><\/div>\n
\t\t\t\t\tImage credit: Photo Stephen Weiss\/Courtesy of the artist\t\t\t\t<\/figcaption><\/figure>\n
\n
\tFor decades, Liliane Lijn has created a fascinating body of work that explores invisible forces: female presence, power and words. International audiences have already seen many of her sculptures, including at the 2022 Venice Biennale, where she showed three works from the 1970s and 1980s that looked like female bodies and imaginary creatures. . The American-born artist, who is now in her 80s and has spent much of her life in London, is having her most comprehensive retrospective to date, organized by the Munich Haus der Kunst and Tate St. Organized jointly with the Tate St. Ives and at Haus Der Kunst and the Mumok Museum in Vienna. Appropriately, the exhibition is titled “Alive,” referring to the inner life that her sculptures often seem to imbue with.<\/p>\n<\/article>\n<\/li>\n
Emily Karaka<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage credit: Courtesy of the artist\/Auckland Art Gallery Auckland Arts\t\t\t\t<\/figcaption><\/figure>\n
\n
\tThe bright, cheerful colors of Emily Karaka’s paintings seem to conflict with her subjects, which are often the dispossession of their native land. The artist, who is of Ngati Te Ahi Waru descent and is now in her 70s, has never made entirely somber art, although she often refers to the Treaty of Waitangi, which stripped Maori of their rights during its formation. New Zealand (Aotearoa) now. Karaka\u2019s Sharjah Art Foundation retrospective shows how the artist skillfully layered text, indigenous symbols and bright, abstract patterns to critique the history of colonialism, sometimes even shifting her focus beyond the South Pacific. For example, one of the new paintings in the exhibition refers to Palestine, whose struggle she clearly identifies as a M\u0101ori struggle.<\/p>\n<\/article>\n<\/li>\n
- \n
\nBritta Malacat-Raba<\/h2>\n\n\t\t\t\n\t\t\t\t\tPhoto credit: Ina Weisenberg\t\t\t\t<\/figcaption><\/figure>\n
\n
\tBritta Marakatt-Labba is one of the most important Sami artists and her appearances at Documenta 14 in 2017 and the Venice Biennale in 2022 significantly enhanced her visibility. Some of her spare textiles and drawings chart Sweden’s national history, showing how the country deliberately took steps to dispossess the Nordic region’s indigenous people of their land and livelihoods, but the majority of her work functions differently. Among her numerous works, including her critically acclaimed history<\/em> (2003-07), she focuses on the survival of the Sami people and records their centuries-old legends. The National Museum in Oslo hosted the 73-year-old star’s biggest show of the year so far.<\/p>\n<\/article>\n<\/li>\n- \n
\nDjura Kosice<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage source: provided by MALBA\t\t\t\t<\/figcaption><\/figure>\n
\n
\tUntil this year, Djura Ko\u0161ice was primarily known for one piece of work: his room-filling installations water space city<\/em> (Aquaspace City, 1946-72), featuring suspended Plexiglas works, he meant as a vision of how humans could persevere after leaving this planet. Yet Kosice is much more than that, as his retrospective at the Museum of Latin American Art in Buenos Aires (MALBA) attests. The exhibition shows how Ko\u0161ice, who was born in Slovakia and spent much of his career in Buenos Aires, helped found the movement known as Madi, which in the 1940s aspired to prove that abstraction could be a a form of liberation. His MALBA retrospective positioned Madi as an important turning point in the history of Argentine art, inspiring generations of artists to follow.<\/p>\n<\/article>\n<\/li>\n- \n
\nJinlin<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage credit: \u00a9Kim Lim\/DACS, 2024\/Courtesy of the National Gallery Singapore\t\t\t\t<\/figcaption><\/figure>\n
\n
\t“For me,” Singaporean-British artist Kim Lim once said, “a sculpture has to have a presence and I want people to be able to immediately see it as a whole.” This seems like an ironic statement, since she makes The metal and wood sculptures are quiet, largely colorless, and often modest in scale\u2014not the kind of art typically thought of as taking up space. But Lim’s National Gallery Singapore retrospective, the first touring exhibition to be shown at Hepworth Wakefield in the UK, shows how the artist breathed life into minimalism, making it appear tangible at times. For Lim, this show is a comeback. She was born in Singapore in 1936 and died sixty years later in London, where she first came to attention.<\/p>\n<\/article>\n<\/li>\n
- \n
\nAnna Lupas<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage source: Photo Carlo Favero\/Stedelijk Museum Amsterdam\t\t\t\t<\/figcaption><\/figure>\n
\n
\tDuring the regime of Nicolae Ceau\u015fescu, when experimentalism was hampered in Romania, Ana Lupas bravely worked in an avant-garde way, creating brilliantly unconventional works such as solemn process<\/em> (1964-2008), consists of a metallic structure made of steel, straw and wire mesh that is reminiscent of ancient objects indigenous to the country. These rings and triangles were first exhibited outdoors in the mid-1960s and then gradually disappeared. Thank God she recreated works like this with a retrospective at the Stedelijk Museum. The exhibition, currently on display at the Liechtenstein Museum of Art, explores how the 84-year-old artist revived local traditions, effectively keeping ideas and rituals on the verge of being lost alive.<\/p>\n<\/article>\n<\/li>\n<\/ul><\/div>\n<\/div><\/div>\n
\t\t\t\t\tImage credit: Courtesy of the artist\/Auckland Art Gallery Auckland Arts\t\t\t\t<\/figcaption><\/figure>\n
\n
\tThe bright, cheerful colors of Emily Karaka’s paintings seem to conflict with her subjects, which are often the dispossession of their native land. The artist, who is of Ngati Te Ahi Waru descent and is now in her 70s, has never made entirely somber art, although she often refers to the Treaty of Waitangi, which stripped Maori of their rights during its formation. New Zealand (Aotearoa) now. Karaka\u2019s Sharjah Art Foundation retrospective shows how the artist skillfully layered text, indigenous symbols and bright, abstract patterns to critique the history of colonialism, sometimes even shifting her focus beyond the South Pacific. For example, one of the new paintings in the exhibition refers to Palestine, whose struggle she clearly identifies as a M\u0101ori struggle.<\/p>\n<\/article>\n<\/li>\n
Britta Malacat-Raba<\/h2>\n\n\t\t\t\n\t\t\t\t\tPhoto credit: Ina Weisenberg\t\t\t\t<\/figcaption><\/figure>\n
\n
\tBritta Marakatt-Labba is one of the most important Sami artists and her appearances at Documenta 14 in 2017 and the Venice Biennale in 2022 significantly enhanced her visibility. Some of her spare textiles and drawings chart Sweden’s national history, showing how the country deliberately took steps to dispossess the Nordic region’s indigenous people of their land and livelihoods, but the majority of her work functions differently. Among her numerous works, including her critically acclaimed history<\/em> (2003-07), she focuses on the survival of the Sami people and records their centuries-old legends. The National Museum in Oslo hosted the 73-year-old star’s biggest show of the year so far.<\/p>\n<\/article>\n<\/li>\n- \n
\nDjura Kosice<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage source: provided by MALBA\t\t\t\t<\/figcaption><\/figure>\n
\n
\tUntil this year, Djura Ko\u0161ice was primarily known for one piece of work: his room-filling installations water space city<\/em> (Aquaspace City, 1946-72), featuring suspended Plexiglas works, he meant as a vision of how humans could persevere after leaving this planet. Yet Kosice is much more than that, as his retrospective at the Museum of Latin American Art in Buenos Aires (MALBA) attests. The exhibition shows how Ko\u0161ice, who was born in Slovakia and spent much of his career in Buenos Aires, helped found the movement known as Madi, which in the 1940s aspired to prove that abstraction could be a a form of liberation. His MALBA retrospective positioned Madi as an important turning point in the history of Argentine art, inspiring generations of artists to follow.<\/p>\n<\/article>\n<\/li>\n- \n
\nJinlin<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage credit: \u00a9Kim Lim\/DACS, 2024\/Courtesy of the National Gallery Singapore\t\t\t\t<\/figcaption><\/figure>\n
\n
\t“For me,” Singaporean-British artist Kim Lim once said, “a sculpture has to have a presence and I want people to be able to immediately see it as a whole.” This seems like an ironic statement, since she makes The metal and wood sculptures are quiet, largely colorless, and often modest in scale\u2014not the kind of art typically thought of as taking up space. But Lim’s National Gallery Singapore retrospective, the first touring exhibition to be shown at Hepworth Wakefield in the UK, shows how the artist breathed life into minimalism, making it appear tangible at times. For Lim, this show is a comeback. She was born in Singapore in 1936 and died sixty years later in London, where she first came to attention.<\/p>\n<\/article>\n<\/li>\n
- \n
\nAnna Lupas<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage source: Photo Carlo Favero\/Stedelijk Museum Amsterdam\t\t\t\t<\/figcaption><\/figure>\n
\n
\tDuring the regime of Nicolae Ceau\u015fescu, when experimentalism was hampered in Romania, Ana Lupas bravely worked in an avant-garde way, creating brilliantly unconventional works such as solemn process<\/em> (1964-2008), consists of a metallic structure made of steel, straw and wire mesh that is reminiscent of ancient objects indigenous to the country. These rings and triangles were first exhibited outdoors in the mid-1960s and then gradually disappeared. Thank God she recreated works like this with a retrospective at the Stedelijk Museum. The exhibition, currently on display at the Liechtenstein Museum of Art, explores how the 84-year-old artist revived local traditions, effectively keeping ideas and rituals on the verge of being lost alive.<\/p>\n<\/article>\n<\/li>\n<\/ul><\/div>\n<\/div><\/div>\n
\t\t\t\t\tPhoto credit: Ina Weisenberg\t\t\t\t<\/figcaption><\/figure>\n
\n
\tBritta Marakatt-Labba is one of the most important Sami artists and her appearances at Documenta 14 in 2017 and the Venice Biennale in 2022 significantly enhanced her visibility. Some of her spare textiles and drawings chart Sweden’s national history, showing how the country deliberately took steps to dispossess the Nordic region’s indigenous people of their land and livelihoods, but the majority of her work functions differently. Among her numerous works, including her critically acclaimed history<\/em> (2003-07), she focuses on the survival of the Sami people and records their centuries-old legends. The National Museum in Oslo hosted the 73-year-old star’s biggest show of the year so far.<\/p>\n<\/article>\n<\/li>\n \t\t\t\t\tImage source: provided by MALBA\t\t\t\t<\/figcaption><\/figure>\n \n \tUntil this year, Djura Ko\u0161ice was primarily known for one piece of work: his room-filling installations water space city<\/em> (Aquaspace City, 1946-72), featuring suspended Plexiglas works, he meant as a vision of how humans could persevere after leaving this planet. Yet Kosice is much more than that, as his retrospective at the Museum of Latin American Art in Buenos Aires (MALBA) attests. The exhibition shows how Ko\u0161ice, who was born in Slovakia and spent much of his career in Buenos Aires, helped found the movement known as Madi, which in the 1940s aspired to prove that abstraction could be a a form of liberation. His MALBA retrospective positioned Madi as an important turning point in the history of Argentine art, inspiring generations of artists to follow.<\/p>\n<\/article>\n<\/li>\n \t\t\t\t\tImage credit: \u00a9Kim Lim\/DACS, 2024\/Courtesy of the National Gallery Singapore\t\t\t\t<\/figcaption><\/figure>\n \n \t“For me,” Singaporean-British artist Kim Lim once said, “a sculpture has to have a presence and I want people to be able to immediately see it as a whole.” This seems like an ironic statement, since she makes The metal and wood sculptures are quiet, largely colorless, and often modest in scale\u2014not the kind of art typically thought of as taking up space. But Lim’s National Gallery Singapore retrospective, the first touring exhibition to be shown at Hepworth Wakefield in the UK, shows how the artist breathed life into minimalism, making it appear tangible at times. For Lim, this show is a comeback. She was born in Singapore in 1936 and died sixty years later in London, where she first came to attention.<\/p>\n<\/article>\n<\/li>\n \t\t\t\t\tImage source: Photo Carlo Favero\/Stedelijk Museum Amsterdam\t\t\t\t<\/figcaption><\/figure>\n \n \tDuring the regime of Nicolae Ceau\u015fescu, when experimentalism was hampered in Romania, Ana Lupas bravely worked in an avant-garde way, creating brilliantly unconventional works such as solemn process<\/em> (1964-2008), consists of a metallic structure made of steel, straw and wire mesh that is reminiscent of ancient objects indigenous to the country. These rings and triangles were first exhibited outdoors in the mid-1960s and then gradually disappeared. Thank God she recreated works like this with a retrospective at the Stedelijk Museum. The exhibition, currently on display at the Liechtenstein Museum of Art, explores how the 84-year-old artist revived local traditions, effectively keeping ideas and rituals on the verge of being lost alive.<\/p>\n<\/article>\n<\/li>\n<\/ul><\/div>\n<\/div><\/div>\nDjura Kosice<\/h2>\n
Jinlin<\/h2>\n
Anna Lupas<\/h2>\n