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Art Party – The Exhibition! opens

Building up to the release of Bob & Roberta Smith’s feature film on 21 August, an exhibition of Art Party memorabilia opens tomorrow Saturday 9 August in Scarborough.

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NOW SHOWING #56: The week’s top exhibitions

Memory, permanence and motorcycle counterculture are on the agenda this week as we take in Phil Root’s ‘erasure’ works in Exeter, Richard Bernstein’s magazine cover art in London and Charlie Woolley’s continuing exploration of the avatar in Plymouth.

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Abramović method: the unpaid volunteer is present

Marina Abramović’s New York-based institute for performance art is looking for experienced applicants for some key part-time roles. But there’s a catch – you need to be able to commit to two or more days a week and not expect to get paid.

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PICTURED #28: Thomas Mailaender, The Night Climbers of Cambridge

A new photobook from The Archive of Modern Conflict captures the magic and vertiginous tomfoolery of 1930s Cambridge undergraduates climbing the city’s buildings by night. Tim Clark considers the merits of Thomas Mailaender’s The Night Climbers of Cambridge.

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Cheltenham retains Banksy artwork

‘Cheltenham Banksy’ to remain in the town following the announcement of a cash deal between a local philanthropist and the owners of the property where it appeared earlier this year.

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New art gallery for Goldsmiths

Ambitious plans for a ‘new centre for the arts in south London’, to be part funded by an auction of artworks donated by college alumni, have been announced by Goldsmiths, University of London.

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Is it time to recognise that the art of ‘now’ is digital?

Can art be truly contemporary if it doesn’t embrace and address the digital world? After hearing strong and polarized reviews from friends, Linda Pittwood visits the Serpentine Sackler’s current digital installation by Ed Atkins and finds something genuinely original.

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NOW SHOWING #55: The week’s top exhibitions

This week’s selections include a ‘topical’ collection of new works by Gilbert and George in London, pioneering abstract paintings by the British post-war artist Sandra Blow in Penzance, and a series of ‘exuberant’ installations by Phyllida Barlow – made in response to the unique surroundings of Hauser and Wirth’s gallery space in Somerset.

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