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Michelangelo and Sebastiano

This fascinating exhibition tells the story of two Renaissance greats and their unlikely collaboration

Sebastiano del Piombo, incorporating designs by Michelangelo. The Raising of Lazarus, 1517-19 (detail). © The National Gallery, London.
Tony Oursler. Imponderable. 2015-16. 5-D multimedia installation (colour, sound), 90 min. The Museum of Modern Art, New York. © 2016 Tony Oursler. Photograph: Jonathan Muzikar. Digital image © The Museum of Modern Art, New York.
This fascinating exhibition brings together some of the artist’s vast archive of ephemera concerning mysticism, the paranormal and the pseudo-scientific with an immersive film featuring Oursler’s family, Houdini and Arthur Conan Doyle, as viewers are forced to consider the authenticity of what they are seeing.
Tuneu. Hexacordo, gallery view, Galeria Raquel Arnaud, São Paulo, Brazil, 2017. Photograph: Riã Duprat.
This solo exhibition, which celebrates Tuneu’s 50 years as an artist, brings together his most recent work, with 23 new paintings as well as sculptures, all of which play with the possibilities of the hexagon.
Serge Attukwei Clottey at 1-54 Contemporary African Art Fair, courtesy of the artist and Gallery 1957. Photograph: Luke Walker.
Using his body as an object, Ghanaian artist Serge Attukwei Clottey works with international media – as well as plastic yellow “gallons” (jerrycans) – to speak out about politics, religion, sex and tradition.
Anna Freeman Bentley. Photograph: Sara Ekholm.
Freeman Bentley’s paintings are visual and psychosocial mazes that tease layers of meaning from architectural spaces. She talks about her inspiration and the social tensions that lurk beneath the surface.
Robert Devereux at the opening of When the Heavens Meet the Earth at the Heong Gallery, Downing College, Cambridge, 24 February 2017. Photograph: Martin Kennedy.
Showcasing works from Robert Devereux’s Sina Jina African art collection, this small but dense exhibition reveals the breadth and quality of artistic output from the world’s second largest continent.
Chto Delat. It Hasn't Happened To Us Yet. Safe Haven, 2016. Two-channel HD video installation, 16:9, colour, sound, 49:06 min. Courtesy of Chto Delat and KOW, Berlin.
Dmitry Vilensky and Olga Egorova of the Russian collective Chto Delat talk about their latest exhibition, On the Possibility of Light, at KOW in Berlin, and how they hope to foster debate through their engagement with political struggles.
Thomas Hart Benton. Cotton Pickers, 1945. Oil on canvas, 81.3 x 121.9 cm. Prior bequest of Alexander Stewart; Centennial Major Acquisitions Income and Wesley M. Dixon Jr. funds; Roger and J. Peter McCormick Endowments; prior acquisition of the George F. Harding. © Benton Testamentary Trusts/UMB Bank Trustee/VAGA, NY/DACS, London 2016.
This is a fabulously varied exhibition with a sting in the tail. The times, they were a changin', but so much remains the same.
Do Ho Suh. Passage/s, installation view, 2017, Victoria Miro Gallery II, London. Courtesy the artist, Lehmann Maupin, New York and Hong Kong, and Victoria Miro, London. Photograph: Thierry Bal. © Do Ho Suh.
With the lightest of touches, artist Do Ho Suh can transform the architectural into a symbol of the transient – and temporal – nature of life.
TeamLab. Universe of Water Particles, Transcending Boundaries. Photograph courtesy teamLab © 2016 teamLab, courtesy Pace Gallery.
The founder of teamLab, an interdisciplinary group of ‘ultra-technologists’, explains how digital technology can expand art and remove the barriers between the work and the viewer.
Tara Donovan. Composition (Cards), 2017. Styrene cards and glue, 99.7 x 99.7 x 10.2 cm (39-1/4 x 39-1/4 x 4 in). © Tara Donovan. Photograph: Kerry Ryan McFate, courtesy of Pace Gallery.
The artist explains that, although her latest work, Compositions (Cards), may seem very different from her earlier, large-scale floor-based installations, it springs from the same desire to play with perceptual capacities.
Adrienne Elise Tarver. Secrets of Leaves, 2017. Courtesy of the artist and Victori + Mo.
The artist talks about notions of voyeurism, and her interest in personal space and the power of suggestion.
Joe Tilson. Zikkurat 1, Spectrum, 1967. Oil and acrylic on board (relief), 217 x 217 cm (85.5 x 85.5 in). Courtesy of Waddington Custot.
This group exhibition, including work by Josef Albers, David Annesley, Anthony Caro and Hélio Oiticica, provides an interesting survey of 1960s abstract art and its legacies, and suggests a few intriguing connections.
Andy Warhol. Vote McGovern, 1972. Colour screenprint. © 2016 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York and DACS, London.
This exhibition pops and sparks, but ultimately goes out with a disappointing fizzle, leaving us to wonder what happened to the American dream.
Stephan Bogner, Philipp Schmitt and Jonas Voigt. Raising Robotic Natives, 2016 © Jonas Voigt.
This exhibition is a provocative, disturbing, poignant and ultimately telling exploration of the implications and complications arising from technology’s advancing role in human evolution.
Deimantas Narkevičius. 20 July 2015, 2016. Stereoscopic video projection (video still), colour, sound (Lithuanian and Russian spoken), English subtitles, 15 min 8 sec. © Deimantas Narkevicius, courtesy Maureen Paley, London.
In the Lithuanian artist’s latest exhibition, contrasting public reaction to the dismantling of communist public sculptures in his homeland are examined in two video works.
Richard Brautigan. Poem: All Watched Over by Machines of Loving Grace, 1960s. Photograph: Veronica Simpson.
In the 1960s, technological machines were seen as benign helpers or megalomaniac monsters. Fifty years on, at a time when technology permeates everything we do, this show looks at how it reframes the way we think.
Kishin Shinoyama. John Lennon, Yoko Ono, 1980. © Kishin Shinoyama.
The Japanese photographer, famous for his portraits of celebrities and nudes, has selected about 120 works, taken over a 50-year period, leading the viewer on a trip down memory lane.
Michael Andrews. Lights VII: A Shadow, 1974. Acrylic on canvas, 182.9 x 182.9 cm (72 × 72 in). © The Estate of Michael Andrews, courtesy James Hyman Gallery, London.
Best known for his party scenes, Michael Andrews’ later landscapes reveal him as a master of perspective and a laureate of uncertainty.
Gluck. Medallion (YouWe) with frame, 1936. Oil on canvas, 30.5 x 35.6 cm. Ömer M. Koç Collection. Image courtesy of The Fine Art Society.
During her lifetime, Hannah Gluckstein (Gluck) refused to show in group exhibitions. The Fine Art Society has stayed true to her wishes with this extensive retrospective on the ground floor complemented by an exhibition upstairs of works by several of her contemporaries.
Hernan Bas. Preferring the out to the indoor night, 2010. Acrylic, airbrush, household gloss and block print on linen, 152.4 x 182.9 x 5.1 cm (60 x 72 x 2 in). © Hernan Bas. Photograph: Nicola Kuperus. Courtesy the artist and Victoria Miro, London.
The house and its potential as a home, a prison, a marker in one’s life, is fertile territory and an inspired idea for an exhibition but, in this case, one lacking in impact.
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