French-Moroccan artist Bouchra Khalili is known for her deeply researched film installations that explore discourses of resistance against a legacy of colonialism and imperialism. Fisun Güner discovers what motivates her films and why exhibiting in galleries resonates with the ancient Moroccan tradition of Al-Halqa – storytelling in a public space.
Q&A - a-n The Artists Information Company
The Belgian artist who came to prominence in the early 2000s with her eerily unsettling horse sculptures takes a new direction with the large-scale works for her current show at Hauser & Wirth Somerset. Fisun Güner talks to her about animal pelts, moulding wax and J.M. Coetzee.
The Birmingham-based artist’s exhibition ‘Vanishing Point’ addresses the underrepresentation of black figures in Western history and presents a new group of works on paper alongside two paintings loaned from the National Gallery. Anneka French finds out more.
Earlier this year, Glasgow-based Gordon Douglas was awarded a-n Artist Bursary to create a new website archiving his performance practice. He speaks to Richard Taylor about resilience, the importance of criticality and how arts organisations are future-focused when faced with austerity.
The Glasgow-based artist has had a high-profile 2018, with a survey show earlier in the year, a nomination for the Jarman Award, and a forthcoming solo exhibition at Dundee Contemporary Arts. Jessica Ramm talks to her about practice, ethics and new work that aims to counteract commercial and patriarchal depictions of love, pleasure and bodies.
Newcastle-based Mani Kambo uses religious rituals inspired by her Sikh upbringing in work that straddles film installation and performance, as well as screenings and cyanotype printing. Richard Taylor talks to the artist, who is one of 25 a-n members recently awarded a mentoring bursary.
For her show at Glasgow’s Transmission gallery, Scottish artist Rabiya Choudhry presents selected works from a six-year period including paintings, printed fabrics and a neon window sign in tribute to her dad. Jessica Ramm asks where her vibrant but troubled paintings come from and what it means to fly solo at this important artist-run space.
Artist Fiona MacDonald’s Feral Practice is an established mode of visual art production that acts as a conduit between human and non-human interaction. From the sonification of mushrooms to the filming of wood ants, her practice is wide ranging. Richard Taylor finds out more.
London-based artist Onyeka Igwe has mined colonial-era archives for three new films inspired by all-women protests against British rule in west Africa, currently showing together in the solo exhibition ‘No Dance, No Palaver’, in Hawick, Scotland. She discusses the spectre of the ‘colonial gaze’ and the ethics of archive research with Sonya Dyer.
The Newcastle-born artist’s current exhibition at Baltic in Gateshead consists of a labyrinthine sculptural installation that is visually arresting and teeming with narrative. Fisun Güner talks to the 2018 Hepworth Sculpture Prize nominee about making work that reflects life outside the art world’s “pool of middle-class light”.
From community projects to land work, Jeremy Hastings has used his many travels and itinerant lifestyle to share skills and learn from landscapes to create painting and photography. Richard Taylor finds out more.
Between October 2017 and April 2018 Sally Stenton spent time at Anglia Ruskin University, using its facilities and developing a conceptual work that connected the university’s art and science departments. With applications now open for the 20th year of AA2A placements, Pippa Koszerek catches up with the artist to discuss her residency and its impact on her ongoing practice.
The Bradford-born artist’s current exhibition ‘The Sun Never Sets’ at Huddersfield Art Gallery draws on his childhood memories of living in Bangladesh while also exploring the impact and legacy of colonialism. Fellow painter Narbi Price asks the questions.
Katarzyna Perlak is this month’s featured artist on a-n’s Instagram. Her practice uses archival research and her own experience to apply queer and feminist readings to Eastern European history and tradition. Richard Taylor speaks to Perlak about her video and collage works.
Christine Borland’s current show ‘to The Power of Twelve’ looks at the history of Mount Stuart, a neo-gothic country mansion on the island of Bute, during the first world war when it was used as a naval hospital. She talks to Jessica Ramm about the project which sees her return to Mount Stuart fifteen years on from her first exhibition at the Grade A listed house.
Taking place in venues across west Cornwall including an abandoned church, a telecommunications station and a snooker club, the five-month Groundwork programme of international contemporary art is organised by the Cornubian Arts & Science Trust (CAST). David Trigg discusses art and place with the organisation’s influential curator.
For his exhibition, ‘CAPSID’, John Walter draws on his time as resident artist of infection at UCL where he collaborated with structural virologist Professor Greg Towers. Lydia Ashman finds out how his focus on a protein shell that enables the rapid transmission of viruses has resulted in a riotous, playful mix of film, painting, collage and installation.
Imran Perretta’s film 15 days focuses on the refugee situation in Calais and Dunkirk and is the result of his Jerwood/FVU Awards commission. He explains to Fisun Güner how the film came about and how his move into art making was shaped by the 2008 financial crisis and an aborted career in architecture.
Nominated for the 2018 Turner Prize and a recent recipient of the European Culture Foundation’s Princess Margriet Award for Culture, the London-based independent research agency Forensic Architecture is making political and cultural waves with its evidence-based work. Chris Sharratt talks to artist and filmmaker Simone Rowat, one of the group’s 15 team members.
Jean McEwan is this month’s featured artist member on a-n’s Instagram. Richard Taylor talks to the Bradford-based artist about collaboration, the richness of sustained community work, walking, and much more.
As he prepares for his Glasgow International solo show at Kelvin Hall, Jessica Ramm – who is also exhibiting during GI – talks to the Glasgow-based artist about authority, control and power, and how his work offsets some of the grandeur of the city’s colonial past.
Richard Parry was appointed director of the biennial Glasgow International festival in May last year, following a move from Blackpool where he was director/curator at the Grundy Gallery. Chris Sharratt talks to him about the artistic rhythm of Glasgow’s rich and vibrant art scene, and his approach to curating the festival, which is now in its eighth edition.
For ‘Deep Spoils’, the Glasgow-based Scottish artist’s first exhibition in Wales, Claire Barclay has responded to the history and architecture of Swansea’s Mission Gallery by reconfiguring existing works alongside new elements. Anneka French discovers more about her distinctive practice that draws on industrial motifs to explore materiality and memory.
Rachel Howard’s paintings reference an unstable and violent world, drawing on political events and the devastation of war. With two current London exhibitions at Blain Southern and Newport Street Gallery, Fisun Güner talks to the artist about what inspires her work and how her early experience painting spots for Damien Hirst influenced her approach.
The former director of Southend-on-Sea’s Focal Point Gallery takes up his new role in Eastbourne at a difficult time for the gallery, as local council cuts mean a 50% reduction in funding over the next four years. Judith Alder finds him relishing the challenges ahead, and with a focus on opportunities for the gallery to play a more central role in the life of the East Sussex town.