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Material Gains: Unpicking Art in Fabric at the 2022 Biennale

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Bigger, Bolder, Ballsier: Our New Residency Artist Took the Chance to Cut Loose

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Elephant’s Pick of the Shows from Gallery Weekend Berlin

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The Eyes of Caroline Walker: “It’s Different When it’s a Woman Looking at Women”

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Something from Nothing: How Did Kazakhstan Rescue Their Venice Show?

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Yuki Kihara, Spirit of the Ancestors Watching (After Gauguin), 2020. Image courtesy of Yuki Kihara and Milford Galleries, Aotearoa New Zealand

Indigenous Spaces: Venice Finally Gives Room to Forgotten Voices

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Thar She Blows! Reinventing Moby Dick for the Venice Biennale

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Melanie Bonajo: “The Oil Pool Where People Are Blindfolded Is a Ritual Space…”

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True Lies: Fact and Fiction in the Art of Stan Douglas

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Can Machines Really Make Art? The Venice Biennale Says Yes…

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Why Is Venice Drowning in Gloop, Goo and Gore?

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Venice Biennale 2022: Key Painters from Cecilia Alemani’s Headline Show

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Simone Leigh, Façade, 2022. © Simone Leigh. Photo: Timothy Schenck. Courtesy the artist and Matthew Marks Gallery

Access All Areas: Elephant’s Guide to the 59th Venice Biennale

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Future Shock: Phaidon Selects the Artists of Tomorrow

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What Dreams May Come: Waking Up To Alberta Whittle

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Body Language: Does the Human Form Haunt Even the Most Abstract Art?

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The BALTIC Interviews: “I Started to Call it the ‘Internet of Stink’”

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Elephant’s Pick of April’s Essential Artists

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In Character: A New Exhibition Celebrates Art’s Chameleons

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Congratulations to Ingrid Pollard on Her Nomination for the 2022 Turner Prize

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Bora Akıncıtürk: “Galleries Want Someone they Can Hump!”

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Celebrating Elephant Cover Star Sin Wai Kin’s Turner Prize Nomination

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Voices of the Ignored: How Alanis Obomsawin Made Canada Listen

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Photographing Sin Wai Kin and Tai Shani: “I Want to Make it Fun!”

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