Feature

Édouard Glissant’s play Monsieur Toussaint is translated into Creole at this year’s Ghetto Biennale, unpicking Haiti's national heroes

Johan Grimonprez, Shadow World, 2016, film still. Courtesy: the artist, Sean Kelly Gallery, New York, Galerie Kamel Mennour, Paris, Flatland Gallery, Amsterdam, Ronald Reagan Presidential Library, Simi Valley, Louverture Films, Dillywood and Shadow World inc., New York

Johan Grimonprez’s recent films explore the mechanisms of the arms trade

Old Food, 2017, production still. Courtesy: the artist, Galerie Isabella Bortolozzi, Berlin, Cabinet Gallery, London, Gavin Brown’s Enterprise, New York and Rome, and dépendance, Brussels

Helen Marten responds to Ed Atkins’s new work, Old Food, currently showing at Martin-Gropius-Bau, Berlin

Recent instances of censorship show an emboldened far right attacking the arts, queer identity and more: artists, curators and writers respond

Wong Kar-wai, Happy Together, 1997, film still. Courtesy: the artist and Alamy 

From the new issue of frieze: Changes in urban cultures and queer aesthetics across the Sinosphere 

Celeste Dupuy-Spencer, Durham, August 14, 2017, 2017, oil on canvas, 71 × 89 cm. Courtesy: the artist and Marlborough Contemporary, London and New York

A new wave of figurative painting in recent New York exhibitions prompts critical questions about which bodies we depict, for whom and to what end

Critical Art Ensemble, Radiation Burn: A Temporary Monument to Public Safety, 2010, performance documentation. Courtesy: the artists

Blast Theory, Forced Entertainment and Slavs and Tatars: collectives fusing theatre, art, performance and politics to create interactive experience

Studio Formafantasma, Ore Streams, 2017, video still. Courtesy: the designers and National Gallery of Victoria, Melbourne

Alice Rawsthorn on the Italian design duo’s response to ecological and political concerns

James Ensor, Masks Mocking Death, 1888. Oil on canvas, 81 x 100 cm. Courtesy: Scala Archives, Florence

On the recurring appearance of the mask in art

Carrie Walter Stettheimer, Stettheimer Doll House (front view) c.1916–35. Wood, bronze, marble, alabaster, gilding, cardboard, paper, foil, linen, ceramic, oil, ink, watercolour, gouache, graphite, Conté, pastel, coloured pencil and other materials, 79 × 132 × 94 cm. Courtesy: Museum of the City of New York

From medieval Wunderkammern to portable museums, Duchamp’s suitcases, and dolls’ houses, the miniature is an enduring and radical art form

Jacob van Hulsdonck, A Still Life of a Laid Table, with Plates of Meat and Fish and a Basket of Fruit and Vegetables, undated. Oil on panel, 72 × 104 cm. Courtesy: Johnny Van Haeften, London

Meditations on still life

Installation view of ‘International Congress of African Culture’, 1962, a pan-African exhibition at the Rhodes National Gallery, Salisbury, Rhodesia (now Zimbabwe), which set a precedent for ‘Magiciens de la terre’, the Pompidou Centre, Paris, 1989. Courtesy: National Gallery of Zimbabwe, Harare

The context and legacy of Jean-Hubert Martin’s contentious 1989 exhibition, ‘Magiciens de la terre’

Video

Sponsored Content - 12 Dec 2017

Kosovo-born Sislej Xhafa's first exhibition in Germany speaks to the artist's concerns around identity politics and his birthplace

Sponsored Content - 08 Dec 2017

With her current solo show at Anton Kern Gallery, New York, the Dutch-American artist explains her travelling, hybrid procession-protest piece which uses graphic design and portable sculptural pieces to champion women’s rights