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We asked this year’s Venice Biennale a-n travel bursary recipients and AIR Council members attending the biennale preview to tell us what their highlights were. They came back with 26 different recommendations – and a few repeats.

London and Scotland-based artistic duo Thomson & Craighead have created a new generative moving image work for the Look Again festival in Aberdeen. They talk to Jack Hutchinson about the impact of the internet on our lives and how splitting their time between rural and urban areas has benefitted their practice.

Keith Piper’s exhibition at New Art Exchange, ‘Unearthing the Banker’s Bones’, explores the idea of what our society’s relics might look like from a future perspective. The founder member of the BLK Art Group talks to Wayne Burrows about the themes contained within the work and the continued importance of political and social questions to his practice.

As a member of Artangel’s production team, Laura Purseglove is used to site-specific working and navigating the complexities of staging art projects in historic buildings. All of which will be useful experience for her role at ACE Trust, where over the next two years she will be developing a programme of exhibitions and commissions for churches and cathedrals throughout the UK. Pippa Koszerek finds out more.

For her current show at The Showroom, London-based artist Laura Oldfield Ford has constructed a disorientating visual, textual and sonic journey that draws on her experiences of navigating the gallery’s surrounding area, weaving together multiple voices and alternative histories and futures. Lydia Ashman finds out more.

As a-n launches its dedicated coaching accreditation programme for the visual arts, Pippa Koszerek speaks to the four artists who tested the waters in 2016.

Jenni Lomax announced late last year that she is stepping down from her role at Camden Arts Centre, a position she has held for 26 years. Fisun Güner talks to the much admired director about working with artists, the importance of education in the gallery’s programme, and what she will do next.

The Glasgow-based artist, who first came to prominence in the 1990s, this year became the recipient of the newly created Freelands Award for women artists. She shares her thoughts on 12 months that also saw her first substantial show in Scotland for 10 years.

The interactive map of artist-led organisations across the UK aims to capture the diversity of the arts ecology, while also aiding development of self-inititiatives. Jack Hutchinson reports.

‘The Last Editions’ is the final chance to celebrate the work of The Multiple Store and to buy one of the high-quality editions it has been commissioning since 1998 by artists including Turner Prize nominees and winners. Co-founder Nicholas Sharp talks about his reasons for starting the project, and why it’s now time to wrap things up.

London-based artist Zoe Childerley has been walking the English-Scottish border as part of a residency with Visual Arts in Rural Communities in Northumberland. Pippa Koszerek talks to her in the lead up to an end of residency exhibition

As part of the Super Slow Way programme in Lancashire, Los Angeles-based artist Suzanne Lacy is bringing the local community together through Sufi chanting, shape-note singing and a banquet for 500 people. Bob Dickinson finds out more.

From community university partnerships to practice-based PhDs and tenured teaching posts, a new set of resources developed for a-n by artist Steve Pool identifies some key ways artists are working within higher education, and considers the value of such relationships to both artists and institutions.

The Salford-based artist Maurice Carlin hopes to use his time as the first-ever Clore Visual Artist Fellow to, among other things, “change perceptions… of what it means to be an artist”. He shares his thoughts on the fellowship, its personal and wider significance, and why artists – and the artist-led sector in particular – need to recognise the importance of good leadership.