Drawing on theater, carnival, ritual, and the amateur spectacle, Chetwynd’s performances—complete with handmade costumes, improvised architectures, papier-mâché props, oversize masks, and an ever-changing cast of collaborators—are at once exuberant and deeply considered, embracing uncertainty as a condition of the live event.
In Ruins: A Conversation with Mounir Fatmi
Part archive and part archaeological experiment, Mounir Fatmi’s work draws on his early experiences of a flea market in Tangier. Using defunct antenna cables, typewriters, and VHS tapes, he exploits the finite lifespan of technology and consumer goods to question the limits of memory and communication.
Anne Hardy
EDINBURGH Talbot Rice Gallery, University of Edinburgh Hardy offers clues and some guidance, but the viewer’s imagination ultimately becomes the site where this immersive and evocative act of spatial world-building takes hold.
Beyond Explanations: A Conversation with Benjamin Orlow
Benjamin Orlow is primarily known for video works and figurative sculptures that he builds in situ out of clay or has cast in bronze—works that play out over considerable periods of time not only during their creation, but also for the viewer.
Jonathan Baldock
BRISTOL, U.K. Arnolfini Gallery Baldock has created something quite special with “Held.” It feels like a defining exhibition for an artist whose work in recent years has become bolder and more assured while keeping its slightly bawdy mix of humor and oddness, sex and subversion.
Interrogating Systems: A Conversation with Tavares Strachan
MacArthur recipient Tavares Strachan describes himself as an explorer and storyteller. As an artist, he has developed a unique practice that blends art, science, music, and cultural inquiry. His range of inquiry is as large as the knowledge systems that have fascinated him since he was a child—themes of visibility, inclusion, space travel, and the
Lynn Chadwick
NORFOLK, U.K. Houghton Hall In direct contrast to Henry Moore’s monumental style, Chadwick applied a thick layer of Stolit—an industrial gypsum mixed with iron filings—onto a welded linear armature to augment the surface of his sculptures. The resulting body of work is characterized by immediately recognizable spiky forms and roughened textures.
In Proximity: A Conversation with Elizabeth Atterbury
Deep care and connection define Elizabeth Atterbury’s sculptures and their arrangements. Visually stunning surfaces, created in wood, clay, metal, and stone, are felt through the body.
Productive Tension: A Conversation with Nairy Baghramian
Baghramian shuns prescribed meanings, leaving her work open-ended and vulnerable. Equally wary of perfection, she rejects any form of idealization; instead, as she says, she “prioritiz(es) the perspectives of children.”
Body As Building: A Conversation with Antony Gormley
In works such as Innercity (2026), the distinction between sculpture and architecture begins to collapse. Bodies become buildings; buildings become bodies as visitors enter and navigate the interiors of sculptures in which space ceases to be a backdrop and becomes the work itself.
