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A Q&A with… Bedwyr Williams, multimedia artist and Dylan Thomas fan

For the inaugural visual arts commission at Storyhouse in Chester, Bedwyr Williams has transposed stories collected from a local newspaper archive onto a digitally animated recreation of the town’s former Roman Fortress Bathhouse. Speaking to Fisun Güner, he laments the loss of British awkwardness, and describes how this new work will take the viewer on a journey to “a space that’s out of time”.

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Artists’ Books #24: Making Books in Bristol

Sarah Bodman previews Angie Butler’s new artist’s book which she has created as part of a research residency exploring the diverse creative practice of artists making books in Bristol and the physical production of books in the city.

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NOW SHOWING #215: The week’s top exhibitions

A selection of exhibition highlights for the week ahead including a Jasper Johns survey at the Royal Academy of Arts, an art/science collaboration in Newcastle and Robyn Denny’s abstract paintings at Newlyn Art Gallery, Penzance.

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Pictures of… Jerwood Drawing Prize 2017 shortlist

69 works by 65 artists have been selected for the latest edition of the UK’s longest-running annual open drawing exhibition, which will also be Jerwood Charitable Foundation’s final year as the show’s key partner and funder.

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Conserving contemporary art: practice, theory and the Documenta institute

In the midst of a growth in performative and participatory art at international art biennials, Documenta recently confirmed the site of a new permanent institute in Kassel. Inspired by an academic conference on conserving contemporary art, Laura Harris assesses the challenges the institute faces in a climate where the experiential is increasingly taking precedence over the art object.

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Free Market thinking: arts, organising and alternatives to neoliberalism

Market Gallery’s recent Free Market symposium – supported by an a-n Artist Led Bursary – brought together thinkers and doers to discuss issues around ‘cultural resources in crisis’ and was in part informed by the Glasgow gallery’s own precarious situation. Chris Sharratt reports on three days of thinking beyond the usual.

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