Grotesquerie has long been the language of rebellion. On our screens and in the contemporary art gallery, an era of ugly, morbidly playful satire is back
The artist’s first institutional presentation outside of Asia, at New York’s Swiss Institute, tells a story of industry and postcolonial culture in spare parts
The fraught US Pavilion reveals what has been true for some time, if not forever: the artworld is heavily politicised, though until recently almost always in ways that have suited liberal agendas
From 2000: The artist had a Tate St Ives residency in 1998/99 when she worked from a temporary studio improvised in the lifeguard’s hut. Here, she recounts her experience
From 2012: Resonating throughout the exhibition is a belief that ideas ask for a physical form and that we always think with the help of the material world
