Mark Leckey interviewed by Jennifer Thatcher
Mark Leckey's videos and performance lectures led to his winning the Turner Prize in 2008. As he prepares for exhibitions at the Fruitmarket Gallery and the Liverpool Biennial, he discusses here issues of authenticity, shopping skills and the merits of performing shamanistic rituals for white goods.
There is a shift away from that drive towards authenticity. In order to get to something, you can't approach it as if it is an authentic thing. You have to approach it through a cloak of inauthenticity. You have to enhance the artifice in order to generate a sensation that feels in some way genuine.
Nathan Jones makes new sense from non-sense
In our hypermediated world, how have artists such as Caroline Bergvall, Mez Breeze, Erica Scourti and Ryan Trecartin utilised glitches to reveal language itself to be an embodied medium?
Our experience of media is precisely – and perhaps uniquely – the experience of their failure.
Rob La Frenais on the other side of the story
The Science Museum's exhibition 'Cosmonauts – Birth of a Space Age' set out to survey the Soviet approach to space exploration and its cultural influences. But aside from some obvious exhibition design cues, where are the promised artworks?
The words CCCP (Cyryllic for USSR) on Gagarin's helmet were painted there at the last minute in case the rural population mistook him for a western spy descending into the remote Russian countryside.
From the Back Catalogue
Art and Power Julian Stallabrass finds that the Cold War still dictates the agenda in the Hayward Gallery's Council of Europe exhibition
With living and working spaces suitable for artists on the decline in London and the Tory government planning to sell off housing association properties, is appealing to the dubious largesse of property developers really all that the mayor can come up with?
In the next five years as many as 3,500 artists are likely to lose their studios in the capital – 30% of the current already meagre provision. Assuming that at least some of the 35,000 graduates emerging every year from the ever-expanding art departments of London universities want to stay in London, where on earth are they going to find space to work, let alone live?
Lizzie Homersham highlights further issues with Tate Modern's 'The World Goes Pop' exhibition that she reviewed last month.
Paul Carey-Kent takes issue with last month's review of the 'Liam Gillick: The Thought Style Meets the Thought Collective' exhibition, and Dave Beech responds.
Parisian cultural institutions mourn the recent terror attacks; the gender pay gap in the arts is documented; new studio provision is passed over in favour of retail; Brooklyn Museum comes under fire for hosting a property development conference; George Osborne spares the arts from the worst of his latest budget cuts; the Tories resume attempts to push through education proposals for a non-arts Ebacc qualification; staff petition against layoffs at Firstsite Gallery; Northern Ireland ministers backtrack on arts cuts; Anish Kapoor's London Olympics sculpture keeps costing taxpayers; arts organisations improve their own self-generated income; the Museums Association updates its code of ethics around corporate sponsorship; the latest news on galleries, appointments, prizes and more.
Roaming Room, London
The MAC, Belfast
Ambika 3, London
Turps Gallery, London
Galerie Thaddaeus Ropac, Paris
Galerie Nathalie Obadia, Paris
The Tetley, Leeds
Focal Point Gallery, Southend-on-Sea
Larne Abse Gogarty
Holden Gallery, Manchester
Cooper Gallery • Lifespace • David Dale Gallery
Peter Suchin gathers some recent releases
A few years ago books on curating were all the rage, a trend now being replaced by works examining the cultural prominence of the collector.
Gilda Williams tackles an epic of conceptual writing
I can't review Goldsmith's half-million-word tome and claim to have actually read the whole book. Having spent a good two months cradling Capital, I can now admit that I will never finish it – in the same way that I will never finish reading the internet.
Colin Perry finds common ground between activists and artists
The most startling and devastating film shown in the festival was Blacks Britannica, 1978, directed by documentarian David R Koff and originally commissioned for broadcast on the public service station WGBH but then subject to censorship in both the US and UK.
Maria Walsh on the critical encounter in moving-image art
From the diverse forms of scholarship and practices that jostled together, it would appear that the catch-all term 'moving image' has finally liberated past entrenchments of film practice in this country. But this dissolution of camps has also left some critics at sea.
Henry Lydiate has advice for artist collaborators
Marina Abramović is being sued for breach of contract by her former artistic collaborator Ulay over works they jointly created – this lawsuit raises issues about artists' ways of working together, and legal and business issues involved and arising.
This month's highlights include:
The updated events and exhibitions calendar can also be viewed online.
Art Monthly's exhibition listings can be viewed online.