В мире искусства: от закрытия публичных пространств до продажи коллекции Заблудовичей и генеративного ИИ

interviewed by Amanprit Sandhu talks to Chris Clarke Ranjana Thapalyal Profile by Phoebe Cripps Buy Now – select: Want to read this right now? Get instant access to the entire back catalogue via Exact Editions from only £8.99! Amar Kanwar interviewed by Amanprit Sandhu All politics, theories, legal struggles, advocacy and activism emerge from the lived experience of people. Sometimes human experience is condensed, summarised or pushed away and we are left only with ideological or technical discussions and arguments. Testimonies help us bring the lived experience of people back into the centre of discussion. Stephen Willats talks to Chris Clarke I realised that you had to use the language of the audience. That was one way forward. So, I decided to go beyond the art institution directly into the fabric of society and to operate with people living in environments which were more typical of the world we lived in. Ranjana Thapalyal sees the recent closures of public art spaces as indicative of a wider shutting down of cultural debate While a direct correlation between the closure of art spaces and the rise of far-right presence in our streets is not suggested, the connections between the underlying causes must be addressed. An economic paradigm that pushes institutions of governance and education into a culture of cut-throat, profit-driven single-mindedness does the same harm to art and education as it does to the social fabric in general. Phoebe Cripps Lap-See Lam grew up in a restaurant in Stockholm, the Bamboo Garden, which was opened by her grandmother in the 1970s before her parents took over. The artist has spoken about spending her childhood watching her parents perform someone else’s image of China. Days before many of us donned blacked glasses to view the majestic solar eclipse, the world’s richest man accidentally crashed a rocket into the moon. Clearly, the insatiable appetite of capitalism has driven our attention economy – now AI economy – into a death spiral, and we’ll need more than dark glasses to protect us from this spectacle of excess. Is it too late for us to reset, to abandon our contemporary lifestyle and tap into a more ancient and respectful relationship with our planet, to regain the ability to listen to our body clocks and embrace our circadian rhythms and ‘go paleo’? The summer’s relentless heatwaves were felt in the arts sector; as ACE turns 80, outgoing chair Nicholas Serota outlines his priorities for the arts; the museum sector’s international code of ethics is published; the Venice Biennale loses European funding over its inclusion of Russia this year; Russia targets airstrikes on Ukrainian cultural institutions; cultural institutions are advised over safeguarding at a time when criminals use GenAI to exploit children; plus the latest on galleries, people, prizes and more. Christine Borland 1965–2026 Katrina M Brown Simone Forti 1935–2026 Fiontán Moran Tate Modern, London Bryony White The Modern Institute, Glasgow John Douglas Millar Raven Row, London Luisa Lorenza Corna Goldsmiths CCA, London Amanda Cachia Lisson Gallery, London Peter Suchin Somerset House Studios, London Amrita Dhallu Moon Groove, Manchester Lauren Velvick Matta, Milan Frida Sandström various venues, Duisburg, Essen, Bochum and Gelsenkirchen Maximiliane Leuschner Greg Thomas These works on graph paper by Theresa Hak Kyung Cha, such as Untitled (Après tu parti), 1976, perhaps predict the spirit of the grid as defined by Rosalind Krauss in 1979: emblem of both formalist monomania and reverie. Ravi Ghosh By the time the hoverboard character appears, chaos has been embraced: limbs pull at the air overhead, the dancer in the silver sleeping bag – previously writhing – has settled to become another boulder. Maria Walsh ‘Testimonies to the Near Future’ is ultimately a feat of technological and designer prowess that envisages the accelerated times and spaces of globalisation and gentrification sweetened by romance and play. Miriam Stoney The various ideas for the Danube Island’s use and the ultimate decision to retain the newly created land for ecological conservation and recreational activities provide a rare instance of politics working to affirm life, as opposed to more abstract values such as capital, status or power. It’s still propaganda, but at least benevolently so. Deborah Schultz The range of names that Belgium’s AfricaMuseum has been known by over the years seem indicative of how it has responded to wider political and historical changes while uncertain of its role in society. I have long been interested to see how its displays deal with its complex and highly problematic history. How does it look to its past? To what extent does it engage with the present? Colin Gleadell While the big money in London this summer was focused on Sotheby’s, contemporary art followers had their eyes on Christie’s, which was the beneficiary of the surprise decision by Anita and Poju Zabludowicz to sell more than 100 works from their collection with an estimated value of £15m. Henry Lydiate US-based photography dealer James Danziger used GenAI to make a ‘colourized’ version of Ansel Adams’s iconic Moonrise, Hernandez, New Mexico, 1941, then displayed it at The Photography Show’s annual fair in New York City. Danzinger offered his creation for sale in three differently sized editions of ten at $6,000, $8,000 and $10,000; the Ansel Adams Gallery, meanwhile, run by the artist’s grandson, was offering a unique print of the original Moonrise for over $100,000.