Interviews
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Bharti Kher: ‘In the way a kitchen has many different things cooking at the same time, so does my studio’
Kher talks about the difficulty of being identified as an ‘Indian’ artist, being a procrastinator, and making material things do things they don’t want to
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Peter Hill: ‘I have a love for the solitude of lighthouses at one extreme and the energy of Chicago or Berlin at the other’
The artist talks about his creation of a fictional museum, his current lecture tour, Fake News + Superfictions, and the artists who have influenced him
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Latif Al Ani: ‘I was documenting for the sake of archiving. I never thought Iraq would arrive at what it has today’
The Iraqi photographer considers his photographic preservation of a long-vanished Iraq, his preoccupation with beauty, and the desire to share his country’s pain with viewers
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Köken Ergun: ‘In Turkey, the image of the soldier has been victimised by Erdoğan’
The Turkish film-maker talks about his 2005 video I, Soldier, and its relevance to the political situation in his country today
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Shirazeh Houshiary: ‘We can’t fix our identity or our borders, the only real border is our skin’
Houshiary talks about evolution, Einstein and shamans, and how her work involves thinking in other dimensions
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John Stezaker: ‘I was trying to create a sort of photographic cubism’
The British artist discusses a series of 1970s collages that launched his career, and which have been brought together for an exhibition in New York
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Nnenna Okore: ‘My work seeks to highlight Earth’s vulnerability and fragility’
Okore’s sculptures are poetic odes to the natural world. But beneath the delicate beauty there lies a pervading tension. She talks about how life and death in the natural world informs her practice
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William Kentridge: ‘One needs sometimes to show the power of the irrational world as a demonstration of the limits of the rational world’
William Kentridge talks about his recent performance of Kurt Schwitters’ sound poem Ursonate, dadaists and interpreting the world
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Veronica Ryan: ‘I’m interested in the semantics of perception’
The artist talks about her continuing connection with the sculptures of Barbara Hepworth, and how her interest in psychological trauma, and her own family history, has shaped her art
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Arthur Watson: ‘Central to the organisation of the show was that work would be presented as it would have been when first made or acquired’
The president of the Royal Scottish Academy discusses Ages of Wonder: Scotland’s Art 1540 to Now, an ambitious and exciting exhibition that was more than three years in the making
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Neha Choksi: ‘Transformations necessitate lost pasts and renewals of future hopes’
Through her latest work, a multichannel video installation entitled Faith in friction that features Choksi and her friends, the artist considers how the self is necessarily formed through engagement with others
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Zoë Buckman: ‘One role of feminism is to address and reframe how we construct masculinity’
The London-born, New York-based artist known for incorporating highly personal motifs, such as embroidered underwear, in her work, discusses feminism and the role women play within her art
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Antony Gormley: ‘Looking back at the paths you have taken is a really important exercise’
The artist talks about collaborating on a major new book about his career, the evolution of his work, and the impact of childhood on his practice
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Pamela Schilderman: ‘I really wanted people to think about what it is that makes a portrait’
What makes a portrait? What defines a person’s identity? These are questions at the core of Schilderman’s practice, and are questions she hopes to make her audience ask as well
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Stan Douglas: ‘A re-enactment is an event that becomes processed in memory’
Photographer and film artist Stan Douglas talks about his new works, which extend his interest in historical moments of rupture to the 2011 London riots
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Grace Weir: ‘I often think through the camera’
In Irish film artist Grace Weir’s latest exhibition, Unfolded, past and present, the real and representational repeatedly elide. Here, Weir talks about her work and about challenging notions of fixity in art, physics and philosophy
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Juno Calypso: ‘Male critics don’t think women are funny, they don’t think women are capable of irony. They just think that women are silly and self-destructive’
London-based photographer Juno Calypso talks about femininity and disappointment in a man’s world
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Julie Montgarrett: ‘I have always gravitated to the seductive character and movement of cloth and thread’
Australian artist Julie Montgarrett uses her work to explore the continent’s problematic colonial past, employing textiles and stitching to tease out the selective histories and mythologies of settler narratives
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Pavel Brăila: ‘Roots are the most important thing that we have’
After a summer of double Documentas, the Moldovan artist Pavel Brăila is now included in the second edition of the Art Encounters Biennial in Timișoara, Romania. Here, he talks about how his home region has inspired his work
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Nathalie Du Pasquier: ‘From the beginning, I did not belong to the design world or to the art world’
In her first comprehensive survey in the US, the artist and designer reveals a diverse and colourful practice that started with legendary design collective Memphis. Here, she talks about the show and moving from design to painting
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Katriona Beales: ‘It’s not the internet that is malevolent, but the way behavioural psychology is employed to coerce compulsive use’
Following the opening of Are We All Addicts Now? at London’s Furtherfield, Katriona Beales, the exhibition’s lead artist, talks about the digital power to seduce and coerce
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Robert Longo: ‘I’m making artworks out of dust’
At his first solo exhibition in London, New York artist Robert Longo talks about charcoal, photography, violence and Donald Trump
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Ross Birrell: ‘I saw a possible way to draw a relationship between art and emancipatory politics’
Ross Birrell talks horses, endurance and taking risks in relation to two works for Documenta, his film Criollo and The Athens-Kassel Ride: The Transit of Hermes, a procession of horses and riders on a 1,850-mile journey, which he describes as…
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Lucas Arruda: ‘The only reason to call my works landscapes is cultural’
On the occasion of his first London exhibition, at David Zwirner, Lucas Arruda discusses his almost pathological pursuit of a particular theme, revealing the macro within the micro, and how his imaginary landscapes are states of mind suspended in paint
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